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PKEFACE. 

The aim in the present volume, as in the others 
of the series, is to present a satisfactory text with 
as full an equipment of introduction and notes as 
is necessary for thorough intelligibility. The sec- 
tion of the introduction dealing with Shakspere 
and the drama is intended to give the student a 
clear idea of the place of the play in literary his- 
tory. The treatment of the relation of Shaks- 
pere's Julius Caesar to North's Plutarch is an 
attempt to solve a difficulty which meets the 
editor of any of the Eoman plays. A mere state- 
ment of indebtedness fails to convey a true idea 
of the real facts of the case ; and the reprinting 
of the whole text of which Shakspere availed him- 
self does not explain the situation without much 
detailed study. The comparative table given on 
pp. 40-42 tells much at a glance ; and the teacher 
who wishes to illustrate further Shakspere 's use 
of his material will find it easy to do so by means 
of the references to Skeat's Shahespeare' s Plutarch^ 
a book which every teacher of the play should 
have at hand. The sections on language and 
metre present some of the peculiarities of Shaks- 
pere's English and versification in a more system- 
atic fashion than is possible in separate notes. 



6 PREFACE. 

The task of aesthetic interpretation has been, 
for the most part, left to the teacher; yet it may 
be pointed out that this play offers exceptionally 
good opportunities for explaining the elements of 
dramatic construction. The action in Julius 
Caesar is less complicated than in most of Shaks- 
pere's other tragedies; there is no under plot; and 
the rise and fall of the action, up to the climax 
in Caesar's death and down to the catastrophe at 
Philippi, is easily traced. If we regard the tragedy 
as a conflict between the party of conspirators and 
the party of Caesar, we see that the movement 
which culminates in the assassination deals with 
the triumph of the former; while in the second 
part, the friends of Caesar, deprived of his pres- 
ence but animated by his spirit, avenge his death 
on his murderers. This final triumph of Caesar's 
faction, the acknowledgement by Brutus that it is 
the spirit of Caesar that brings disaster on the 
conspirators, and the obvious advertising value of 
the name of Caesar in a title, seem sufficient to 
answer the much debated question as to why 
Shakspere called the play Julius Caesar and not 
Marcus Brutus. 

The admirably conceived contrasts of character, 
and the elaboration of these from Plutarch's, 
hints, should give rise to suggestive discussion, 
oral or written. The play as a whole, while not 
reaching the pitch of intensity in feeling and 
expression of the greatest of Shakspere 's trag- 



PREFACE. 7 

edies, is less concentrated and difficult in style 
than, for example, Hamlet or Lear^ while its 
rhetorical brilliance easily arouses the enthusiasm 
of even the younger students. 

Attention might profitably be drawn to the 
political significance of the play. The hopeless- 
ness of curing national degeneracy by the removal 
of any one man, and the total failure of the 
populace to see the aim of the conspirators' action, 
are most pointedly expressed in the shout of the 
Third Citizen after the republican speech of 
Brutus, — "Let him be Caesar." 

For further details on the life and works of 
Shakspere, the following may be referred to: 
Dowden's Shahspere Primer and Shahspere^ His 
Mind and Art; Sidney Lee's Life of William 
STiahespeare; William Shalcspere, by Barrett Wen- 
dell; Shahspere and His Predecessors, by F. S. 
Boas. The most exhaustive account of the Eng- 
lish Drama is the new three- volume edition of A. W. 
Ward's History of English Dramatic Literature. 
Both this work and that of Sidney Lee are rich in 
bibliographical information. For questions of 
language and grammar, see A. Schmidt's Shakes- 
peare Lexicon; J. Bartlett's Concordance to 
Shahespeare; E. A. Abbott's Shakespearian 
Grammar; and, for philological commentary on 
the present play in particular, Eolfe's edition of 
Craik's English of Shakespeare. For general ques- 
tions of dramatic construction, see Gustav Frey- 



8 PREFACE. 

tag's Technik des Dramas^ translated into English 
by E. J. McEwen, and Dr. Elisabeth Wood- 
bridge's The Drama ^ its Law and its Technique, 
Harvaed Ukiyersity, 
May, 1901. 



CONTENTS 

Preface 5 

Introduction 

I. Shakspere and the English Drama . 11 

II. Julius Caesar 29 

Text 43 

Notes 159 

Word Index . 190 



INTKODUCTIOlSr. 

I. SHAKSPEEE AND THE ENGLISH DRAMA. 

The wonderful rapidity of the development of 
the English drama in the last quarter of the six- 
teenth century stands in striking contrast to the 
slowness of its growth before that period. The 
religious drama, out of which the modern dramatic 
forms were to spring, had dragged through centu- 
ries with comparatively little change, and was still 
alive when, in 1576, the first theatre was built in 
London. By 1600 Shakspere had written more 
than half his plays and stood completely master of 
the art which he brought to a pitch unsurpassed 
in any age. Much of this extraordinary later 
progress was due to contemporary causes; but 
there entered into it also certain other elements 
which can be understood only in the light of the 
attempts that had been made in the three or four 
preceding centuries. 

In England, as in Greece, the drama sprang from 
religious ceremonial. The Mass, the centre of 

The Drama *^® P^^^^^^ worship of the Eomau 
before church. Contained dramatic mate- 

shakspere. ^-^-^ -^ ^-^^ gesturcs of the offici- 
ating priests^ in the narratives contained in the 
Lessons, and in the responsive singing and chant- 

11 



12 INTRODUCTION. 

ing. Latin, the language in which the services 
were conducted, was unintelligible to the mass of 
the people, and as early as the fifth century the 
clergy had begun to use such devices as tableaux 
vivants of scenes like the marriage in Cana and 
the Adoration of the Magi to make comprehen- 
sible important events in Bible history. Later, 
the Easter services were illuminated by repre- 
sentations of the scene at the sepulchre on the 
morning of the Eesurrection, in which a wooden, 
and afterwards a stone, structure was used for the 
tomb itself, and the dialogue was chanted by differ- 
ent speakers representing respectively the angel, 
the disciples, and the women. From such begin- 
nings as this there gradually evolved the earliest 
forms of the Miracle Play. 

As the presentations became more elaborate, 
the place of performance was moved first to the 
churchyard, then to the fields, and finally to the 
streets and open spaces of the towns. With this 
change of locality went a change in the language 
and in the actors, and an extension of the field from 
which the subjects were chosen. Latin gave way 
to the vernacular, and the priests to laymen ; and 
miracle plays representing the lives of patron 
saints were given by schools, trade gilds, and 
other lay institutions. A further development 
appeared when, instead of single plays, whole 
series such as the extant York, Chester, and 
Coventry cycles were given, dealing in chrono- 



1 



SHAKSPERE AND ENGLISH DRAMA. 13 

logical order with the most important events in 
Bible history from the Creation to the Day of 
Judgment. 

The stage used for the miracle play as thus 
developed was a platform mounted on wheels, 
which was moved from space to space through 
the streets. Each trade undertook one or more 
plays, and, when possible, these were allotted with 
reference to the nature of the particular trade. 
Thus the play representing the visit of the Magi 
bearing gifts to the infant Christ was given to the 
goldsmiths, and the Building of the Ark to the 
carpenters. The costumes were conventional and 
frequently grotesque. Judas always wore red 
hair and a red beard ; Herod appeared as a fierce 
Saracen ; the devil had a terrifying mask and a 
tail ; and divine personages wore gilt hair. 

Meanwhile the attitude of the church towards 
these performances had changed. Priests were 
forbidden to take part in them, and as early as 
the fourteenth century we find sermons directed 
against them. The secular management had a 
more important result in the introduction of 
comic elements. Figures such as Noah's wife and 
Herod became frankly farcical, and whole episodes 
drawn from contemporary life and full of local 
color were invented, in which the original aim 
of edification was displaced by an explicit attempt 
at pure entertainment. Most of these features 
were characteristic of the religious drama in gen- 



14 INTRODUCTION. 

eral throughout Western Europe. But the local 
and contemporary elements naturally tended to 
become national ; and in England we find in these 
humorous episodes the beginnings of native 
comedy. 

Long before the miracle plays had reached their 
height, the next stage in the development of the 
drama had begun. Even in very early performances 
there had appeared, among the dramatis personae 
drawn from the Scriptures, personifications of 
abstract qualities such as Eighteousness, Peace, 
Mercy, and Truth. In the fifteenth century this 
allegorical tendency, which was prevalent also in 
the non-dramatic literature of the age, resulted in 
the rise of another kind of play, the Morality, 
in which all the characters were personifications, 
and in which the aim, at first the teaching of 
moral lessons, later became frequently satirical. 
Thus the most powerful of all the Moralities, 
Sir David Lindesay's Satire of the Three Estates, 
is a direct attack upon the corruption in the 
church just before the Reformation. 

The advance implied in the Morality consisted 
not so much in any increase in the vitality of the 
characters or in the interest of the plot (in both 
of which, indeed, there was usually a falling off), 
as in the fact that in it the drama had freed 
itself from the bondage of having to choose its 
subject matter from one set of sources — the 
Bible, the Apocrypha, and the Lives of the Saints. 



SHAKSPERE AND ENGLISH DRAMA. 15 

This freedom was shared by the Iis^terlude, a 
form not always to be distinguished from the 
Morality, but one in which the tendency was to 
substitute for personified abstractions actual 
social types such as the Priest, the Pardoner, or 
the Palmer. A feature of both forms was the 
Vice, a humorous character who appeared under 
the various disguises of Hypocrisy, Fraud, and 
the like, and whose function it was to make fun, 
chiefly at the expense of the Devil. The Vice 
is historically important as having bequeathed 
some of his characteristics to the Fool of the later 
drama. 

John Heywood, the most important writer of 
Interludes, lived well into the reign of Elizabeth, 
and even the miracle play persisted into the 
reign of her successor in the seventeenth cen- 
tury. But long before it finally disappeared 
it had become a mere medieval survival. Anew 
England had meantime come into being and new 
forces were at work, manifesting themselves in a 
dramatic literature infinitely beyond anything 
even suggested by the crude forms which have 
been described. 

The great European intellectual movement 
known as the Renaissance had at last reached 
England, and it brought with it materials for an 
unparalleled advance in all the living forms of 
literature. Italy and the classics, especially, 
supplied literary models and material. Not only 



16 INTRODUCTION. 

were translations from these sources abundant, 
but Italian players visited England, and per- 
formed before Queen Elizabeth. France and 
Spain, as well as Italy, flooded the literary mar- 
ket with collections of tales, from which, both in 
the original languages and in such translations as 
are found in Paynter's Palace of Pleasure (pub- 
lished 1566-67), the dramatists drew materials 
for their plots. 

These literary conditions, however, did not do 
much beyond offering a means of expression.* 
For a movement so magnificent in scale as that 
which produced the Elizabethan Drama, some- 
thing is needed besides models and material. In 
the present instance this something is to be found 
in the state of exaltation which characterized the 
spirit of the English people in the days of Queen 
Elizabeth. Politically, the nation was at last one 
after the protracted divisions of the Eeformation, 
and its pride was stimulated by its success in the 
fight with Spain. Intellectually, it was sharing 
with th(B rest of Europe the exhilaration of the 
Eenaissance. New lines of action in all parts of 
the world, new lines of thought in all depart- 
ments of scholarship and speculation, were open- 
ing up ; and the whole land was throbbing with 
life. 

In its very beginnings the new movement in Eng- 
land showed signs of that combination of native 
tradition and foreign influence which was to char- 



SHAKSPERE AND ENGLISH DRAMA. 17 

acterize it throughout. The first regular English 
comedy, Udall's Ralph Roister Doister was an 
adaptation of the plot of the Miles Gloriosus of 
Plautus to contemporary English life. After a 
short period of experiment by amateurs working 
chiefly under the influence of Seneca, we come on 
a band of professional playwrights who not only 
prepared the way for Shakspere, but in some 
instances produced works of great intrinsic worth. 
The mythological dramas of Lyly with the bright 
repartee of their prose dialogue and the music of 
their occasional lyrics, the interesting experiments 
of Greene and Peele, and the horrors of the 
tragedy of Kyd, are all full of suggestions of what 
was to come. But by far the greatest of Shaks- 
pere's forerunners was Christopher Marlowe, who 
not only has the credit of fixing blank verse as the 
future poetic medium for English tragedy, but 
who in his plays from Tamburlaine to Edicard II. 
contributed to the list of the great permanent 
masterpieces of the English drama. 

It was in the professional society of these men 
that Shakspere found himself when he came to 

London. Born in the provincial 
Early iTife.^ town of Stratford-on-Avon in the 

heart of England, he was bap- 
tized on April 26, 1564 (May 6th, according to 
our reckoning). The exact day of his birth is 
unknown. His father was John Shakspere, a 
fairly prosperous tradesman, who may be supposed 



18 INTRODUCTION. 

to have followed the custom of his class in edu- 
cating his son. If this were so, William would be 
sent to the Grammar School, already able to 
read, when he was seven, and there he would be 
set to work on Latin Grammar, followed by read- 
ing, up to the fourth year, in Cato's Maxims^ 
Aesop's Fables^ and parts of Ovid, Cicero, and 
the medieval poet Mantuanus. If he continued 
through the fifth and sixth years, he would read 
parts of Vergil, Horace, Terence, Plautus, and 
the Satirists. Greek was not usually taught in 
the Grammar Schools. Whether he went through 
this course or not we have no means of knowing, 
except the evidence afforded by the use of the 
classics in his works, and the famous dictum of 
his friend, Ben Jonson, that he had " small 
Latin and less Greek." What we are sure of is 
that he was a boy with remarkable acuteness of 
observation, who used his chances for picking up 
facts of all kinds ; for only thus could he have 
accumulated the fund of information which he 
put to such a variety of uses in his writings. 

Throughout the poet's boyhood the fortunes of 
John Shakspere kept improving until he reached 
the position of High Bailiff or Mayor of Stratford. 
When William was about thirteen, however, his 
father began to meet with reverses, and these are 
conjectured to have led to the boy's being taken 
from school early and set to work. What business 
he was taught we do not know, and indeed we 



SHAKSPERE AND ENGLISH DRAMA. .19 

have little more information about him till the 
date of his marriage in November, 1582, to Anne 
Hathaway, a woman from a neighboring village, 
who was seven years his senior. Concerning his 
occupations in the years immediately preceding 
and succeeding his marriage several traditions 
have come down, — of his having been apprenticed 
as a butcher, of his having taken part in poaching 
expeditions, and the like — but none of these is 
based upon sufiBcient evidence. About 1585 he 
left Stratford, and probably by the next year he 
had found his way to London. 

How soon and in what capacity he first became 
attached to the theatres we are again unable to 
say, but by 1592 he had certainly been engaged 
in theatrical affairs long enough to give some 
occasion for the jealous outburst of a rival play- 
wright, Eobert Greene, who, in a pamphlet 
posthumously published in that year, accused him 
of plagiarism. Henry Ohettle, the editor of 
Greene's pamphlet, shortly after apologized for his 
connection with the charge, and bore witness to 
Shakspere's honorable reputation as a man and to 
his skill both as an actor and a dramatist. 

Eobert Greene, who thus supplies us with the 
earliest extant indications of his rival's presence 
in London, was in many ways a typical figure among 
the playwrights with whom Shakspere worked 
during this early period. A member of both 
universities, Greene came to the metropolis while 



20 INTRODUCTION. 

yet a young man, and there led a life of the most 
diversified literary activity, varied with bouts of 
the wildest debauchery. He was a writer of 
satirical and controversial pamphlets, of romantic 
tales, of elegiac, pastoral, and lyric poetry, a 
translator, a dramatist, — in fact, a literary jack- 
of-all-trades. The society in which he lived con- 
sisted in part of "University Wits" like himself, 
in part of the low men and women who haunted 
the vile taverns of the slums to prey upon such as 
he. **A world of blackguardism dashed with 
genius," it has been called, and the phrase is fit 
enough. Among such surroundings Greene lived, 
and among them he died, bankrupt in body and 
estate, the victim of his own ill-governed passions. 
In conjunction with such men as this Shakspere 
began his life-work. His first dramatic efforts 
were made in revising the plays of his predeces- 
sors with a view to their revival on the stage ; and 
in Titus Andronicus and the first part of Henry 
VI. we have examples of this kind of work. 
The next step was probably the production of 
plays in collaboration with other writers, and to 
this practice, which he almost abandoned in the 
middle of his career, he seems to have returned in 
his later years in such plays as Pericles, Henry 
VIII., and The Two Noble Kinsmen. How far 
Shakspere was of this dissolute set to which his 
fellow-workers belonged it is impossible to tell; 
but we know that by and by, as he gained mastery 



SHAKSPERE AND ENGLISH DRAMA. 21 

over his art and became more and more independ- 
ent in work and in fortune, he left this sordid 
life behind him, and aimed at the establishment 
of a family. In half a dozen years from the time 
of Greene's attack, he had reached the top of his 
profession, was a sharer in the profits of his 
theatre, and had invested his savings in land and 
houses in his native town. The youth who ten 
years before had left Stratford poor and burdened 
with a wife and three children, had now become 
"William Shakspere, Gentleman." 

During these years Shakspere's literary work 
was not confined to the drama, which, indeed, 
was then hardly regarded as a form of literature. 
In 1593 he published Venus and Adonis, and in 
1594, Lucrece, two poems belonging to a class of 
highly wrought versions of classical legends which 
was then fashionable, and of which Marlowe's 
Hero and Leander is the other most famous ex- 
ample. For several years, too, in the last decade 
of the sixteenth century and the first few years 
of the seventeenth, he was composing a series 
of sonnets on love and friendship, in this, too, 
following a literary fashion of the time. Yet 
these give us more in the way of self -revelation 
than anything else he has left. From them we 
seem to be able to catch glimpses of his attitude 
towards his profession, and one of them makes us 
realize so vividly his perception of the tragic risks 
of his surroundings that it is set down here : 



22 INTRODUCTION. 

O, for my sake do you with Fortune chide, 

The guilty goddess of my harmful deeds, 
That did not better for my life provide 

Than public means which public manners breeds. 
Thence comes it that my name receives a brand, 

And almost thence my nature is subdued 
To what it works in, like the dyer's hand: 

Pity me then and wish I were renewed ; 
"Whilst, like a willing patient, I will drink 

Potions of eisel 'gainst my strong infection; 
No bitterness that I will bitter think, 

Nor double penance to correct correction. 
Pity me then, dear friend, and I assure ye 

Even that your pity is enough to cure me. 

It does not seem possible to avoid the inferences 
lying on the surface in this poem ; but whatever 
confessions it may imply, it serves, too, to give us 
the assurance that Shakspere did not easily and 
Mindly yield to the temptations that surrounded 
the life of the theatre of his time. 

For the theatre of Shakspere' s day was no very 
reputable affair. Externally it appears to us now 
The Eliza- ^ ^^^^ meagre apparatus — almost 
bethan absurdly so, when we reflect on the 

Theatre. grandeur of the compositions for 

which it gave occasion. A roughly circular 
wooden building, with a roof over the stage 
and over the galleries, but with the pit often 
open to the wind and weather, having very 
little scenery and practically no attempt at the 
achievement of stage-illusion, — such was the 
scene of the production of some of the greatest 



SHAKSPERE AND ENGLISH DRAMA. 23 

imaginative works the world has seen. Nor was 
the audience very choice. The more respectable 
citizens of Puritan tendencies frowned on the 
theatre to such an extent that it was found advis- 
able to place the buildings outside the city limits, 
and beyond the jurisdiction of the city fathers. 
The pit was thronged with a motley crowd of 
petty tradesfolk and the dregs of the town ; the 
gallants of the time sat on stools on the stage, 
*' drinking" tobacco and chaffing the actors, their 
efforts divided between displaying their wit and 
their clothes. The actors were all male, the 
women's parts being taken by boys whose voices 
were not yet broken. The costumes, frequently 
the cast-off clothing of the gallants, were often 
gorgeous, but seldom appropriate. Thus the suc- 
cess of the performance had to depend upon the 
excellence of the piece, the merit of the acting, 
and the readiness of appreciation of the audience. 
This last point, however, was more to be relied 
upon than a modern student might imagine. 
Despite their dubious respectability, the Eliza- 
bethan play-goers must have been of wonderfully 
keen intellectual susceptibilities. For clever feats 
in the manipulation of language, for puns, 
happy alliterations, delicate melody such as we 
find in the lyrics of the times, for the thunder of 
the pentameter as it rolls through the tragedies of 
Marlowe, they had a practiced taste. Qualities 
which we now expect to appeal chiefly to the 



24 INTRODUCTION. 

closet student were keenly relished by men who 
could neither read nor write, and who at the same 
time enjoyed jokes which would be too broad, and 
stage massacres which would be too bloody, for a 
modern audience of sensibilities much less acute 
in these other directions. In it all we see how 
far-reaching was the wonderful vitality of the 
time. 

This audience Shakspere knew thoroughly, and 
in his writing he showed himself always, with 
shakspere's whatever growth in permanent ar- 
Dramatic tistic qualities, the clever man of 

Deireiopment. ]3^gij^gss yf^nii hig eye on the mar- 
ket. Thus we can trace throughout the course 
of his production two main lines : one indicative 
of the changes of theatrical fashions ; one, more 
subtle and more liable to misinterpretation, show- 
ing the progress of his own spiritual growth. 

The chronology of Shakspere's plays will prob- 
ably never be made out with complete assurance, 
but already much has been ascertained (1) from 
external evidence such as dates of acting or pub- 
lication, and allusions in other works, and (2) 
from internal evidence such as references to books 
or events of known date, and considerations of 
metre and language. The following arrangement 
represents what is probably an approximately 
correct view of the chronological sequence of his 
works, though scholars are far from being agreed 
upon many of the details. 



SHAKSPERE AND ENGLISH DRAMA. 



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o 



T-t 



INTRODUCTION. 

The first of these groups contains three comedies 
of a distinctly experimental character, and a 
number of chronicle-histories, some of which, like 
the three parts of Henry F/., were almost cer- 
tainly written in collaboration with other play- 
wrights. The comedies are light, full of ingen- 
ious plays on words, and the verse is often 
rhymed. The first of them, at least, shows the 
influence of Lyly. The histories also betray a 
considerable delight in language for its own sake, 
and the Marlowesque blank verse, at its best 
eloquent and highly poetical, not infrequently 
becomes ranting, while the pause at the end of 
each line tends to become monotonous. No copy 
of Romeo and Juliet in its earliest form is known 
to be in existence, and the extent of Shakspere's 
share in Titus Andronicus is still debated. 

The second period contains a group of comedies 
marked by brilliance in the dialogue ; wholesome- 
ness, capacity, and high spirits in the main char- 
acters, and a pervading feeling of good-humor. 
The histories contain a larger comic element than 
in the first period, and are no longer suggestive of 
Marlowe. Khymes have become less frequent, and 
the blank verse has freed itself from the bondage 
of the end-stopped line. 

The plays of the third period are tragedies, or 
comedies with a prevailing tragic tone. Shaks- 
pere here turned his attention to those elements 
in life which produce perplexity and disaster, and 



SHAKSPERE AND ENGLISH DRAMA. 27 

in this series of masterpieces we have his most 
magnificent achievement. His power of perfect 
adaptation of language to thought and feeling 
had now reached its height, and his verse had 
become thoroughly flexible without having lost 
strength. 

In the fourth period Shakspere returned to 
comedy. These plays, written during his last 
years in London, are again romantic in subject 
and treatment, and technically seem to show the 
influence of the earlier successes of Beaumont and 
Fletcher. But in place of the high spirits which 
characterized the comedies of the earlier periods 
we have a placid optimism, and a recurrence of 
situations which are more ingenious than plausi- 
ble, and which are marked externally by reunions 
and reconciliations and internally by repentance 
and forgiveness. The verse is singularly sweet 
and highly poetical ; and the departure from the 
end-stopped line has now gone so far that we see 
clearly the beginnings of that tendency which 
went to such an extreme in some of Shakspere's 
successors that it at times became hard to dis- 
tinguish the metre at all. 

In Two Nolle Kinsmen and Henry VIII. ^ 
Shakspere again worked in partnership, the col- 
laborator being, in all probability, John Fletcher. 

Nothing that we know of Shakspere's life from 
external sources Justifies us in saying, as has 
frequently been said, that the changes of mood in 



28 



INTRODUCTION. 



his work from period to period corresponded to 
changes in the man Shakspere. As an artist he 
certainly seems to have viewed life now in this 
light, now in that ; but it is worth noting that the 
period of his gloomiest plays coincides with the 
period of his greatest worldly prosperity. It has 
already been hinted, too, that much of his change 
of manner and subject was dictated by the vari- 
ations of theatrical fashion and the example of 
successful contemporaries. 

Throughout nearly the whole of these marvel - 
ously fertile years Shakspere seems to have stayed 
in London; but from 1610 to 1612 
he was making Stratford more and 
more his place of abode, and at the 
same time he was beginning to write less. After 
1611 he wrote only in collaboration; and having 
spent about five years in peaceful retirement in 
the town from which he had set out a penniless 
youth, and to which he returned a man of reputa- 
tion and fortune, he died on April 23, 1616. His 
only son, Hamnet, having died in boyhood, of his 
immediate family there survived him his wife and 
his two daughters, Susanna and Judith, both of 
whom were well married. He lies buried in the 
parish church of Stratford. 



Sliakspere's 
Last Tears. 



JULIUS CAESAR. 29 



II. JULIUS CAESAR. 



The date of Julius Caesar may, with a fair 
amount of assurance, be fixed as 1601. The 
argument against an earlier date, 
^**^' apart from the general relation of 

the play to Shakspere's tragic period, is based 
by Mr. Aldis Wright on the use of the word 
"eternal," in I. ii. 160. In 1600 Shakspere 
was still using "infernal" in such passages, but 
after that date he substituted "eternal," appar- 
ently out of deference to the Puritan agitation 
which culminated in legislation against profanity 
and other abuses on the stage. Other examples 
of this substitution occur in Hamlet, I. v. 21, 
and Othello, IV. ii. 130. 

The later limit is fixed by the following passage 
in Weever's Mirror of Martyrs (published 1601), 
first noted by Halliwell-Phillipps : 

The many headed multitude were drawn 

By Brutus speech, that Caesar was ambitious, 

When eloquent Mark Antonle had showne 
His vertues, who but Brutus then was vicious? 

As the speech put into the mouth of Antony in 
the play is Shakspere's invention, and as the 
argument of that speech is referred to here, it is 
evident that the play cannot be later than 1601. 
It is thus the first of the series of great tragedies 
which constituted the chief production of Shaks- 



30 



INTRODUCTION. 



Source of the 
Text. 



pere's third period, and which were written when 
he had achieved complete mastery of all the 
instruments of expression, when his verse, his 
diction, and his powers of characterization and 
dramatic construction were at their best, and 
when he was using them to deal with the problems 
of life seriously and profoundly. 

This play, like many others of Shakspere's, 
seems to have remained unpublished during his 
lifetime, and to have appeared in 
print first in the earliest collected 
edition of his works issued in 1623 
by the two actors, Heminge and Condell. This 
volume is usually known as the "First Folio," 
and from it the present text is taken, with a few 
alterations drawn from the later Folios and from 
the suggestions of modern editors. 

The history of Julius Caesar had been treated 
on the Elizabethan stage before Shakspere wrote 
his tragedy, but there is no trace 
of his having made use of any 
earlier play. He took his subject- 
matter entirely from Plutarch's lives of Caesar, 
Brutus, and Antony. These formed part of the 
admirable series of biographies of the great men 
of antiquity which Plutarch wrote in the first 
century a.d., and which were translated from 
Greek into French by Jacques Amyot, Bishop 
of Auxerre, in 1559. This French version 
was in turn put into English by Sir Thomas 



Source of the 
Plot. 



JULIUS CAESAR. 31 

North and published in 1579, and North's version 
was that used by Shakspere. 

The structure of the play is entirely Shaks- 
pere's, and many of the finest passages, from the 
points of view of both characterization and style, 
are purely the product of his imagination. But 
there remains an astonishingly large portion of 
the play in which the language of North is merely 
turned into blank verse; and much that has 
puzzled critics in the unheroic character of Caesar 
himself finds its explanation in the text of 
Plutarch. 

Shakspere's general method of handling his 
source may be gathered from a comparison of the 
following extract with the corresponding passages 
in the drama : 

For, touching the fires in the element, and spirits 
running up and down in the night, and also the solitary 
birds to be seen at noondays sitting in the great market- 
place, are not all these signs perhaps worth the noting, 
in such a wonderful chance as happened? But Strabo 
the philosopher writeth, that divers men were seen 
going up and down in fire : and furthermore, that there 
was a slave of the soldiers that did cast a marvellous 
burning flame out of his hand, insomuch as they that 
saw it thought he had been burnt ; but when the fire 
was out, it was found he had no hurt. Caesar self also 
doing sacrifice unto the gods, found that one of the 
beasts which was sacrificed had no heart : and that was 
a strange thing in nature, how a beast could live with- 
out a heart. Furthermore there was a certain sooth- 
sayer that had given Caesar warning long time afore, 



32 INTRODUCTION. 

to take heed of the day of the Ides of March, (which is 
the fifteenth of the month), for on that day he should 
be in great danger. That day being come, Caesar going 
unto the Senate-house, and speaking merrily unto the 
soothsayer, told him, "the Ides of March be come": 
"so they be," softly answered the soothsayer, "but yet 
are they not past." ^ 

It will be observed that this material is used by 
Shakspere in four distinct places. The first-men- 
tioned omens are described by Casca in I. iii. 9ff. 
The omen of the sacrificial beast without a heart 
is reported to Caesar by a servant in II. ii. 39, 40. 
The soothsayer appears in I. ii. 12-24 and III. i. 
1, 2. In each case the narrative is thrown into 
drama, and the style is made more vivid. 

How closely at times Shakspere follows his 
original may be gathered from a comparison such 
as this : 

So Brutus boldly asked what ' he was, a god or a 
man, and what cause brought him thither? The spirit 
answered him, "I am thy evil spirit, Brutus: and thou 
shalt see me by the city of Philippes. ' ' Brutus being 
no otherwise afraid, repHed again unto it: "Well, then I 
shall see thee again." — Shakespeare's Plutarch, p. 136. 

Bru. Art thou anything? 

Art thou some god, some angel, or some devil. 
That makest my blood cold and my hair to stare? 
Speak to me what thou art. 

Ghost. Thy evil spirit, Brutus. 

Bru. Why comest thou? 

^Shakespeare's Plutarch, edited by W. W. Skeat, 
London and New York, 1893, pp. 97, 98. 



1 



JULIUS CAESAR. 33 

Ghost To tell thee thou shalt see me at Phllippl. 
Bru. Well; then I shall see thee again? 
Ghost. Ay, at Philippi. 
Bru. Why, I will see thee at Philippi, then. 

^Julius Caesar, IV. iii. 279-287. 

The translation of prose into blank verse dia- 
logue could hardly be made with less change. 

From the table of comparisons between the play 
and the corresponding passages in North's Plutarch 
which will be found on pp. 42-44, one can see at a 
glance the method of selection and rearrangement, 
and can note the passages which are entirely of 
Shakspere's invention. Thus the characters of 
Oasca and Lepidus are hardly hinted at by Plu- 
tarch, while the boy Lucius, the soliloquy in which 
the workings of the mind of Brutus are laid bare, 
the scene in his orchard, the scene in which the 
conspirators bathe their arms in Caesar's blood, and 
the soliloquy of Antony over Caesar's dead body, 
are all wholly Shakspere's. Further, the speeches 
of Antony and Brutus at Caesar's funeral are 
elaborated from the slightest hints. 

Julius Caesar is written in the blank verse 
which, since Marlowe, had been the standard 
metre of the English drama. The 
few prose passages in the play 
occur in pieces of homely dialogue and in the 
laconic speech of Brutus to the citizens. The 
normal type of the blank verse has five iambic 
feet, that is, ten syllables with the accent falling 



34 INTRODUCTION. 

on the even syllables. From this regular form, 
however, Shakspere deviates with great freedom, 
the commonest variations being the following : 

1. The addition of an eleventh syllable; e.g.^ 

Which give | some soil | perhaps | to my | behav | iours^ 

I. ii. 42. 
Then, Bru | tus, I | have much I mistook | your pas ] 

sion, I. li. 48. 
And be | not jeal | ous on | me, gen | tie Bru | tus, I. 

ii. 71. 

Occasionally this extra syllable occurs in the mid- 
dle of the line, at the main pause known as the 
caesura, which is most frequent after the third 
foot; e.g. J 

The melt ] ing spirits | of worn | en, \\ then, coun | try- 
men 1 , II. i. 132. 

Brutus I and Cae | sar \\ : what should | be in | that 
*'Cae I sar,'' I. ii. 142. 

2. Frequently what seems an extra syllable is to 
be slurred in reading; e.g., *' spirits" in the line 
quoted above is a monosyllable. So 

Being crossed | in con | ference by | some sen | ators ] , 
I. ii. 188. 

where "Being" is monosyllabic and "conference" 
dissyllabic. So also "whether" is a monosyl- 
lable in 

See, whether [ their bas | est met | al be | not moved | , 

I. i. 65. 

Whether Cae | sar will | come forth | to-day | , or no | , 

II. i. 194. 



JULIUS CAESAR. 35 

Similarly * 'Either" is a monosyllable in 

Either led | or driv | en, as | we point | the way | , IV. 

i. 23. 
In some lines it is doubtful whether a syllable is 
to be slurred or sounded as a light extra syllable, 
as, e.g.., "together" in 
Write them | together | , yours is | as fair | a name | , 

I. ii. 144. 

3. Sometimes an emphatic syllable stands alone 
as a foot, without an unaccented syllable; e.g.., 

Speak I , strike \ , redress | ! Am I | entreat | ed, II. 
i. 55. 

4. Short lines, lacking one or more feet, occur; 
e.g., 

Made in his concave shores, I. i. 51. 
For that which is not in me, I. ii. 65. 

5. Long lines of twelye or thirteen syllables 
occur; e.g.., 

The old Anchises bear, so from the waves of Tiber, I. 

ii. 114. 
None that I know will be, much that I fear may chance, 

II. iv. 32. 

To mask thy monstrous visage? Seek none, conspiracy, 
II. i. 81. 

Usually in such lines some words bearing the 
metrical accent are quite unemphatic in reading, 
as in the fourth foot of the first example. 

6. Frequently, especially in the first foot, a 
trochee is substituted for an iambus, i.e., the 



36 INTRODUCTION. 

accent falls on the odd instead of the even syllable ; 
e.g.. 

Being | mechanical, you ought not walk, I. i. 3. 

Therefore ] , good Brutus, be prepared to hear, I. ii. 66. 

When went there by an age ] since the | great flood, I. 
ii. 152. 

Till then, my noble friend, 1 chew up | on this, I. ii. 171. 

It must be remembered, however, that some 

words have changed their pronunciation since 

Shakspere's time. Thus "compact" was usually 

accented on the last syllable, as in the following 

line, 

t_ 
But what compact mean you to have with us, III. i. 216. 

Again, from 

Even at the base of Pompey's statue. III. ii. 198, 

we see that "statue" was sometimes trisyllabic, 

and from 

Fearing to strengthen that impati-ence, II. i. 248, 

that "impatience" had four syllables. 

Although differences between the language of 
Shakspere and that of our own day are obvious to 
the most casual reader, there is a 
risk that the student may under- 
estimate the extent of these differences, and, 
assuming that similarity of form implies iden- 
tity of meaning, miss the true interpretation. 
The most important instances of change of 
meaning are explained in the notes; but a 



JULIUS CAESAR. 37 

clearer view of the nature and extent of the 
contrast between the language of Julius Caesar 
and modern English will be gained by a classifi- 
cation of the most frequent features of this con- 
trast. Some of the Shaksperean usages are merely 
results of the carelessness and freedom which the 
more elastic standards of the Elizabethan time 
permitted ; others are forms of expression at that 
time quite accurate, but now become obsolete. 

(1.) Noui^s. (a) Shakspere frequently uses an 
abstract noun with *'of" where modern English 
has an adjective. Thus in Hamlet, I. ii. 4, 
**brow of woe" = woful brow, and in Twelfth 
Night, I. V. 77, ** mouse of virtue'* = virtuous 
mouse. So in Julius Caesar, I. ii. 109, * 'hearts 
of controversy" = controversial feelings; and in I. 
ii. 40, "passions of some difference" = conflicting 
passions. Conversely in IV. ii. 16, "familiar 
instances" = instances of familiarity. 

ip) Abstract nouns are often used in the plural ; 
e.g., "behaviours," I. ii. 42, 

(2.) Adjectives. Double superlatives occur; 
e.g., "most unkindest," III. ii. 193; "most 
boldest," III. i. 122. 

(3.) PRODS'OUisrs. {a) The nominative is often 
used for the objective, especially after preposi- 
tions; e.g., "save I," III. ii. 70; "save only he," 
V. V. 69; "but we," III. i. 96. 

(b) The possessive "its" did not come into 
common use until after the middle of the seven- 



38 INTRODUCTION. 

teenth century, and in Shakspere, as in other 
early writers, we have "his"; e.g., ''And that 
same eye . . . Did lose Ms lustre," I. ii. 123, 4. 

(c) Confusion between the personal and reflex- 
ive forms is common ; e.g.^ ''Submitting me unto 
the perilous night, " I. iii. 47; "Here is himself ^'^^ 
III. ii. 207; "J/"?/se?/ have letters," IV. iii. 172. 

{d) The ethical dative is commoner in Shaks- 
pere than in modern speech; e.g,^ "He plucked 
me ope his doublet," I. ii. 271, 2. 

(e) The modern distinction among the relative 
pronouns, ivlio^ tvhich, tliat^ as, is not observed; 
e.g.^ **a lion who glared," I. iii. 20; "a lamb That 
carries anger as the flint bears fire. Who, much 
enforced, shows a hasty spark," IV. iii. 110-112 y 
"That gentleness And show of love as I was wont 
to have," I. ii. 33; "Under these hard conditions 
as this time Is like to lay upon us," I. ii. 174,5; 
"To such a man That is no fleering tell-tale," I. 
iii. 116-7. 

(4.) Verbs, (a) A singular verb is often 
found with a plural subject; e.g,, ^^Is Decius 
Brutus and Trebonius there?" I. iii. 148; "There 
is tears for his love," III. ii. 31; "Three parts of 
him Is ours," I. iii. 154, 5; "There's two or three 
of us," I. iii. 138. In relative clauses where the 
relative pronoun refers to "you" used of one 
person, Shakspere frequently has a singular verb ; 
e.g., "You know that you are Brutus that speaks 
this," IV. iii. 13. 



JULIUS CAESAR. 39 

{b) Plural verbs occur with singular subjects; 
e.g,^ **The posture of your blows are yet un- 
known," V. i. 33, where the irregularity is due 
to the plural "blows." 

(c) The **n" is frequently dropped from the 
ending of the past participle of strong verbs ; e,g. , 
"spoke" for "spoken," II. i. 125. When the 
word thus produced might be mistaken for the 
infinitive, the form of the past tense is found; 
e.g., "took" for "taken," I. ii. 48; 11. i. 50. 
Three forms of the past participle of "strike" 
are found in Julius Caesar .^ viz., "struck," I. ii. 
177; "strucken," II. ii. 114; "stricken," II. 
i. 192. 

{d) The subjunctive is used for the indicative; 
e.g., "Such men as he he never at heart's ease," 
I. ii. 208. 

(e) Verbs of motion are at times omitted; e.g.^ 
"I'll about and drive away the vulgar," I. i. 73, 4. 

(5.) Adverbs, (a) Double negatives are used 
with a merely intensive force; e.g., "Nor to 
no Roman else," III. i. 92; "Yet 'twas not a 
crown neither," I. ii. 239; "Nor nothing in 
your letters," IV. iii. 184; "No figures nor no 
fantasies," II. i. 231. 

ip) The form of the adjective is often used for 
the adverb; e.g., "This time Is lihe to lay upon 
us," I. ii. 174, 5; "Every time gentler than 
other," I. ii. 231; "Thou couldst not die more 
honour atle,'''' V. i. 60. 



40 



INTRODUCTION. 



(6.) Peepositioi^s. These are often omitted; 
e.g.^ "Worthy note," I. ii. 181; "Arrive the 
point," I. ii. 110; "Listen great things," IV. i. 
41. 

COMPARISON OF JULIUS CAESAR AND 
NORTH'S PLUTARCH 

The italics indicate passages in tlie plays which are not repre- 
sented in Plutarch. The page references in the third column are 
to Skeat's Shakespeare's Plutarch. 



The stripping of the images. 

The Lupercalia 

The warning of the Sooth- 
sayer 

Cassius incites Brutus to 
conspiracy 

Caesar's description of Cas- 
sius 

The offer of the crown to 
Caesar 

Caesar's falling sickness 

Marullus and Flavins si- 
lenced 

Character of Casca 

Writings thrown in Brutus's 
way 



Omens before the death of 
Caesar 

Cassius enlists Casca 

Why the conspirators de- 
sired Brutus 



II. 

The rdle of Lucius 

Brutus soliloquizes on Caesar 

Conspirators visit Brutus 

by night 



Li 

I. ii. 1-24. 



I.ii. 13;III.i.l 
1. ii. 34-181.. 
I. ii. 193-210. 



I. ii. 331-385. 
1. ii. 353-361. 

L ii. 395 

I. ii. 306-313. 



I.ii. 315 ;iii. 143; 
II. 1. 41.... 

I. iii. 1-33 . . . 
I. iii. 41 

I. iii. 140, 156 



II.i.;IV.iii.333 
II. i. 10 

II. i. 70 



96 

95-6; 163-4 

98 

97; 113 

97; 111 

94-6 

57; 89; 95, 

[etc. 
96 



97;-113 
97 

114 



JULIUS CAESAR. 41 

JULIUS CAUSAE AND NORTH'S PLUTABGH.— Continued. 



Objection to taking oaths 
(by Brutus in S. ; by whom 
is not stated in P.) 

Objection to confiding in 
Cicero (by Brutus in S. ; 
by whom is not stated in P. ) 

Brutus objects to killing 
Antony 

Caesar'' s superstition and 
love of flattery 

Portia pleads with Brutus . . 

Brutus enlists Caius Liga- 
rius 

Calpurnia pleads with Cae- 
sar . , . . 

Decius persuades Caesar 

Conspirators come to escort 
Caesar 

Petition of Artemidorus .... 

Portia sends messenger to 
Brutus 

Portia and the Soothsayer . . 

III. 

Cassius fears discovery. 

The assassination 

Bathing in Caesar^s blood . . 
Antony and the conspirators 
Brutus gives Antony leave 

to speak 

Antonyms soliloquy over Cae- 

sar^s body ^ 

Brutus to the citizens. 

Antonyms oration 

The riot 

Cinna's dream and death . . . 

IV. 

The triumvirs prick the 
names 



II. i. 113 


114 


II. i. 141 


114 


II. 1. 154 


119; 164 


II. i. 194 

II. i. 279 ... . 


115 


II. i. 310 ... . 


113 


II. ii. 1 

II. ii. 57 


98; 117 
99 


II. ii. 108.... 
II. iii. ; Ill.i. 3 


99 


II. iv. 1 

II. iv. 21 ... . 


117 
117 


III. i. 13 

III. i. 25 . . . . 

III. i. 106 

III. i. 148.... 


117 

100-1; 118-9 

121; 165 


III. i. 232.... 


121 


III. i. 255.... 

III. ii. 1 

III. ii. 82.... 
III. ii. 263... 
III. iii 


[120] 

[121; 165] 
122 
102-3; 123 


IV.i. I;iii.l73 


128; 169 



42 INTRODUCTION. 

JULIUS CAE8AB AND NORTH'S PLUTAECE.— Continued. 



Antony'' s description of Lep 
idus 

Quarrel of Brutus and Cas- 
sius 

The poet interrupts 

Death of Portia 

Brutus counsels an advance . 

The ghost of Caesar 

V. 

Antony and Octavius order 

their array 

The parley 

The omen of the eagles 

Brutus and Cassius discuss 

suicide 

Brutus and Cassius take 

fare^vell 

Brutus pushes Octavius 

hard 

Cassius is overcome 

Death of Cassius 

Titinius kills himself 

Brutus over the body of 

Cassius 

Death of young Cato 

Lucilius mistaken for Bru 

tus 

Death of Brutus 

Antony over the body of 

Brutus 



IV. i. 13 




IV. ii, iii.... 


134 


IV. iii. 124 . . 


134 


IV. iii. 147 . . 


151 


IV. iii. 197 . . 


138-9 


IV, iii. 275 . . 


136 


V. i. 1 




V. i. 21 




V. i. 80 


137 


V. i. 93 


140 


V. i. 116.... 




V. ii 


141 


V. iii. 1 


143 


V. iii. 14 


143 


V. iii. 51 


143 


V. iii. 91 ... . 


144 


V. iv. 1 


148 


V. iv. 13 . . . . 


149 


V. V. 1 


104; 150-1 


V. V. 68 


130 



JULIUS CAESAR. 



43 



DRAMATIS PERSONAE 



J 



triumvirs after the death of 
Julius Caesar. 



senators. 



Julius Caesar. 
OcTAVius Caesar, 
Marcus Antonius 
M. Aemilius Lepidus 
Cicero, 

PUBLIUS, 

PopiLius Lena, 
Marcus Brutus, 
Cassius, 
Casca, 
Trebonius, 

LiGARIUS, 

Decius Brutus, 
Metellus Cimber, 

CiNNA, 

Flavius and Marullus, tribunes. 
Artemidorus of Cnidos, a teacher of Rhetoric. 
A Soothsayer. 
CiNNA, a poet. Another Poet. 



conspirators against Julius 
Caesar. 



1 



lucilius, 

Titinius, 

Messala, 

Young Cato 

volumnius, 

Varro, 

Clitus, 

Claudius, 

Strato, 

Lucius, 

Dardanius, 

PiNDARUS, servant to Cassius 



)- friends to Brutus and Cassius. 



J 



servants to Brutus. 



Calpurnia, wife to Caesar. 
Portia, wife to Brutus. 

Senators, Citizens, Guards, Attendants, etc. 



Scene : Rome; the neighborhood of Sardis; the neigh' 
borhood of Philippi. 

44 



JULIUS CAESAR. 
ACT FIRST. 

SCESTE I. 

Rome, A street. 

Enter Flavius, MaruUus, and certain Com- 
moners, 

Flav, Hence! home, you idle creatures, get you 
home : 
Is this a holiday? what ! know you not. 
Being mechanical, you ought not walk 
Upon a labouring day without the sign 
5 Of your profession? Speak, what trade art 

thou? 
First Com. Why, sir, a carpenter. 
Mar, Where is thy leather apron and thy rule? 
What dost thou with thy best apparel on? 
You, sir, what trade are you? 
10 Sec. Com. Truly, sir, in respect of a fine work- 
man, I am but, as you would say, a cobbler. 
Mar. But what trade art thou? answer me 
directly. 

45 



46 JULIUS CAESAR. [Act I. Sc. i. 

8ec. Com, A trade, sir, that, I hope, I may use 
with a safe conscience; which is, indeed, 
sir, a mender of bad soles. 15 

Mar. What trade, thou knave? thou naughty 
knave, what trade? 

8ec. Com. Nay, I beseech you, sir, be not out 
with me : yet, if you be out, sir, I can mend 
you. 

Mar. What mean'st thou by that? mend me, 20 
thou saucy fellow ! 

8ec. Com. Why, sir, cobble you. 

Flav. Thou art a cobbler, art thou? 

Sec. Co7n. Truly, sir, all that I live by is with 
the awl: I meddle with no tradesman's mat- 
ters, nor women's matters, but with awl. I 35 
am, indeed, sir, a surgeon to old shoes ; when 
they are in great danger, I recover them. 
As proper men as ever trod upon neat's 
leather have gone upon my handiwork. 

Flav. But wherefore art not in thy shop to-day? so 
Why dost thou lead these men about the 
streets? 

8ec. Com. Truly, sir, to wear out their shoes, to 
get myself into more work. But, indeed, 
sir, we make holiday, to see Caesar and to 
rejoice in his triumph. 35 

Mar. Wherefore rejoice? What conquest brings 
he home? 
What tributaries follow him to Kome, 
To grace in captive bonds his chariot-wheels? 



Act I. Sc. i.] JULIUS CAESAR. 47 

You blocks, you stones, you worse than 
senseless things! 
40 you hard hearts, you cruel men of Rome, 

Knew you not Pompey? Many a time and oft 
Have you climb 'd up to walls and battle- 
ments. 
To towers and windows, yea, to chimney- 
tops. 
Your infants in your arms, and there have 
sat 
45 The live-long day, with patient expectation. 

To see great Pompey pass the streets of 

Rome : 
And when you saw his chariot but appear, 
Have you not made an universal shout, 
That Tiber trembled underneath her banks, 
50 To hear the replication of your sounds 

Made in her concave shores? 
And do you now put on your best attire? 
And do you now cull out a holiday? 
And do you now strew flowers in his way 
55 That comes in triumph over Pompey's 

blood? 
Be gone ! 

Run to your houses, fall upon your knees. 
Pray to the gods to intermit the plague 
That needs must light on this ingratitude. 
60 Flav. Go, go, good countrymen, and, for this 
fault. 
Assemble all the poor men of your sort ; 



48 JULIUS CAESAR. [Act I. So. i. 

Draw them to Tiber banks, and weep your 

tears 
Into the channel, till the lowest stream 
Do kiss the most exalted shores of all. 

[Exeunt all the Commoners. 
See, whether their basest metal be not 65 

mov'd; 
They vanish tongue-tied in their guiltiness. 
Go you down that way towards the Capitol ; 
This way will I : disrobe the images, 
If you do find them deck'd with ceremonies. 
Mar. May we do so? 70 

You know it is the feast of Lupercal. 
Flav. It is no matter ; let no images 

Be hung with Caesar's trophies. I'll about, 
And drive away the vulgar from the streets : 
So do you too, where you perceive them 75 

thick. 
These growing feathers pluck'd from Cae- 
sar's wing 
Will make him fly an ordinary pitch. 
Who else would soar above the view of men 
And keep us all in servile fearfulness. 

\_Exeunt. 



Act I. Sc. ii.] JULIUS CAESAR. 49 



Scene II. 

A pudlic place. 

Flourish. Enter Caesar; Antony, for the course; 
Calpurnia, Portia, Decius, Cicero, Brutus, 
Cassius, and Casca; a great crowd following, 
among them a Soothsayer. 

Caes. Calpurnia! 

Casca. Peace, ho! Caesar speaks. 

Caes. Calpurnia ! 

Cal. Here, my lord. 

Caes. Stand you directly in Antonius' way. 

When he doth run his course. Antonius! 
5 Ant. Caesar, my lord? 
Caes. Forget not, in your speed, Antonius, 

To touch Calpurnia ; for our elders say, 

The barren, touched in this holy chase, 

Shake off their sterile curse. 
Ant. I shall remember : 

10 When Caesar says "do this," it is perform'd. 

Caes. Set on; and leave no ceremony out. 

[Flourish. 
Sooth. Caesar! 
Caes. Ha! who calls? 

Casca. Bid every noise be still : peace yet again ! 
15 Caes. Who is it in the press that calls on me? 

I hear a tongue, shriller than all the music, 



50 JULIUS CAESAR. [Act I. Sc. ii. 

Cry *' Caesar!" Speak; Caesar is turn 'd to 
hear. 
8ooth. Beware the ides of March. 
Gaes. What man is that? 

Bru, A soothsayer bids you beware the ides of 

March. 
Gaes. Set him before me; let me see his face. 20 
Gas. Fellow, come from the throng; look upon 

Caesar. 
Gaes. What say'st thou to me now? speak once 

again. 
Sooth. Beware the ides of March. 
Gaes. He is a dreamer; let us leave him: pass. 

\_Sennet. Exeunt all except Brutus and 
Gassius. 
Gas. Will you go see the order of the course? • 25 
Bru. Not I. 
Gas. I pray you, do. 
Bru. I am not gamesome : I do lack some part 

Of that quick spirit that is in Antony. 

Let me not hinder, Cassius, your desires ; so 

I'll leave you. 
Gas. Brutus, I do observe you now of late : 

I have not from your eyes that gentleness 

And show of love as I was wont to have : 

You bear too stubborn and too strange a 35 
hand 

Over your friend that loves you. 
Bru. Cassius, 

Be not deceiv'd: if I have veil'd my look, 



Act I. Sc. ii.] JULIUS CAESAR. 61 

I turn the trouble of my countenance 
Merely upon myself. Vexed I am 
40 Of late with passions of some difference, 

Conceptions only proper to myself, 
Which give some soil perhaps to my behav- 
iours ; 
But let not therefore my good friends be 

griev'd — 
Among which number, Cassius, be you one — 
45 Nor construe any further my neglect, 

Than that poor Brutus, with himself at war. 
Forgets the shows of love to other men. 
Cas. Then, Brutus, I have much mistook your 
passion ; 
By means whereof this breast of mine hath 
buried 
50 Thoughts of great value, worthy cogitations. 

Tell me, good Brutus, can you see your face? 
Bru. No, Cassius ; for the eye sees not itself 
But by reflection, by some other things. 
Cas. 'Tis just : 
55 And it is very much lamented, Brutus, 

That you have no such mirrors as will turn 
Your hidden worthiness into your eye. 
That you might see your shadow. I have 

heard. 
Where many of the best respect in Eome, 
60 Except immortal Caesar, speaking of Brutus 

And groaning underneath this age's yoke. 
Have wish'd that noble Brutus had his eyes. 



52 JULIUS CAESAR. [Act I. Sc. ii. 

Bru. Into what dangers would you lead me, 
Oassius, 
That you would have me seek into myself 
For that which is not in me? 65 

Oas. Therefore, good Brutus, be prepar'd to hear : 
And since you know you cannot see yourself 
So well as by reflection, I, your glass, 
Will modestly discover to yourself 
That of yourself which you yet know not of. 70 
And be not jealous on me, gentle Brutus: 
Were I a common laugher, or did use 
To stale with ordinary oaths my love 
To every new protester ; if you know 
That I do fawn on men and hug them hard 75 
And after scandal them, or if you know 
That I profess myself in banqueting 
To all the rout, then hold me dangerous. 

[Flourish and shout. 

Bru. What means this shouting? I do fear, the 
people 
Choose Caesar for their king. 

Cas. Ay, do you fear it? 8o 

Then must I think you would not have it so. 

Bru. I would not, Cassius ; yet I love him well. 
But wherefore do you hold me here so long? 
What is it that you would impart to me? 
If it be aught toward the general good, 85 

Set honour in one eye and death i' th' other, 
And I will look on both indifferently. 
For let the gods so speed me as I love 



Act I. Sc. ii.] JULIUS CAESAR. 53 

The name of honour more than I fear death. 

90 Cas, I know that virtue to he in you, Brutus, 
As well as 1 do know your outward favour. 
Well, honour is the subject of my story. 
I cannot tell what you and other men 
Think of this life ; but, for my single self, 

95 I had as lief not be as live to be 

In awe of such a thing as I myself. 
I was born free as Caesar ; so were you : 
We both have fed as well, and we can both 
Endure the winter's cold as well as he: 

100. For once, upon a raw and gusty day. 

The troubled Tiber chafing with her shores, 
Caesar said to me '*Dar'st thou, Cassius, now 
Leap in with me into this angry flood, 
And swim to yonder point?" Upon the 
word, 

105 Accoutred as I was, I plunged in 

And bade him follow ; so indeed he did. 
The torrent roar'd, and we did buffet it 
With lusty sinews, throwing it aside 
And stemming it with hearts of controversy ; 

110 But ere we could arrive the point propos'd, 

Caesar cried "Help me, Cassius, or I sink!'* 
I, as Aeneas, our great ancestor, 
Did from the flames of Troy upon his 

shoulder 
The old Anchises bear, so from the waves of 
Tiber 

115 Did I the tired Caesar. And this man 



54 JULIUS CAESAR. [Act I. So. ii. 

Is now become a god, and Cassius is 

A wretched creature and must bend his 

body, 
If Caesar carelessly but nod on him. 
He had a fever when he was in Spain, 
And when the fit was on him, I did mark 120 
How he did shake: 'tis true, this god did 

shake : 
His coward lips did from their colour fly, 
And that same eye whose bend doth awe the 

world 
Did lose his lustre : I did hear him groan : 
Ay, and that tongue of his that bade the 125 

Eomans 
Mark him and write his speeches in their 

books, 
Alas, it cried ''Give me some drink, Titin- 

ius," 
As a sick girl. Ye gods, it doth amaze me 
A man of such a feeble temper should 
So get the start of the majestic world lao 

And bear the palm alone. 

[Shout. Flourish. 
Bru. Another general shout ! 

I do believe that these applauses are 

For some new honours that are heap'd on 

Caesar. 
Cas. Why, man, he doth bestride the narrow 135 

world 
Like a Colossus, and we petty men 



Act I. Sc. ii.] JULIUS CAESAR. 55 

Walk under his huge legs and peep about 
To find ourselves dishonourable graves. 
Men at some time are masters of their fates : 
140 The fault, dear Brutus, is not in our stars. 

But in ourselves, that we are underlings. 
Brutus and Caesar : what should be in that 

"Caesar"? 
Why should that name be sounded more 

than yours? 
Write them together, yours is as fair a name ; 
145 Sound them, it doth become the mouth as 

well; 
Weigh them, it is as heavy; conjure with 

'em, 
"Brutus" will start a spirit as soon as 

"Caesar." 
Now, in the names of all the gods at once. 
Upon what meat doth this our Caesar feed, 
150 That he is grown so great? Age, thou art 

sham'd! 
Kome, thou hast lost the breed of noble 

bloods ! 
When went there by an age, since the great 

flood. 
But it was fam'd with more than with one 

man? 
When could they say till now, that talk'd of 

Eome, 
155 That her wide walls encompass 'd but one 

man? 



56 JULIUS CAESAR. [Act I. Sc. ii. 

Now is it Eome indeed and room enough, 
When there is in it but one only man. 
0, you and I have heard our fathers say, 
There was a Brutus once that would have 

brook 'd 
The eternal devil to keep his state in Rome leo 
As easily as a king. 

Bru. That you do love me, I am nothing jealous; 
What you would work me to, I have some aim : 
How I have thought of this and of these 

times, 
I shall recount hereafter ; for this present, i65 
I would not, so with love I might entreat you. 
Be any further mov'd. What you have said 
I will consider ; what you have to say 
I will with patience hear, and find a time 
Both meet to hear and answer such high things. 170 
Till then, my noble friend, chew upon this : 
Brutus had rather be a villager 
Than to repute himself a son of Rome 
Under these hard conditions as this time 
Is like to lay upon us. 175 

Cas. I am glad that my weak words 

Have struck but thus much show of fire 
from Brutus. 

Bru. The games are done and Caesar is returning. 

Cas. As they pass by, pluck Casca by the sleeve ; 
And he will, after his sour fashion, tell you iso 
What hath proceeded worthy note to-day. 
Re-enter Caesar and his Train. 



Act I. Sc. ii.] JULIUS CAESAR. 57 

Bru. I will do so. But, look you, Cassius, 

The angry spot doth glow on Caesar's brow, 
And all the rest look like a chidden train : 
185 Calpurnia's cheek is pale; and Cicero 

Looks with such ferret and such fiery eyes 
As we have seen him in the Capitol, 
Being cross 'd in conference by some senators. 
Cas. Casca will tell us what the matter is. 
190 Caes. Antonius! 
Ant. Caesar? 

Caes. Let me have men about me that are fat : 
Sleek-headed men and such as sleep o' nights : 
Yond Cassius has a lean and hungry look ; 
195 He thinks too much : such men are danger- 

ous. 
Ant. Fear him not, Caesar; he's not dangerous; 

He is a noble Koman and well given. 
Caes. Would he were fatter ! But I fear him not : 
Yet if my name were liable to fear, 
200 I do not know the man I should avoid 

So soon as that spare Cassius. He reads 

much; 
He is a great observer, and he looks 
Quite through the deeds of men; he loves no 

plays, 
As thou dost, Antony; he hears no music; 
205 Seldom he smiles, and smiles in such a sort 

As if he mock'd himself and scorn'd his 

spirit 
That could be mov'd to smile at any thing. 



58 JULIUS CAESAR. [Act I. Sc. ii. 

Such men as he be never at heart's ease 
Whiles they behold a greater than them- 
selves, 
And therefore are they very dangerous. 210 

I rather tell thee what is to be fear'd 
Than what I fear; for always I am Caesar. 
Come on my right hand, for this ear is deaf, 
And tell me truly what thou think 'st of him. 
[^Sennet. Exeunt Caesar and all his Train 
hut Casca. 

Casca. You pull'd me by the cloak; would you 215 
speak with me? 

Bru. Ay, Casca; tell us what hath chanc'd to-day, 
That Caesar looks so sad. 

Casca. Why, you were with him, were you not ? 

Bru. I should not then ask Casca what had 220 
chanc'd. 

Casca. Why, there was a crown offer 'd him : and 
being offer 'd him, he put it by with the 
back of his hand, thus; and then the people 
fell a- shouting. 

Bru. What was the second noise for? 225 

Casca. Why, for that too. 

Cas. They shouted thrice : what was the last cry 
for? 

Casca. Why, for that too. 

Bru. Was the crown offer 'd him thrice? 

Casca. Ay, marry, was't, and he put it by thrice, 230 
every time gentler than other; and at every 
putting-by mine honest neighbours shouted. 



Act I. Sc. ii.] JULIUS CAESAR. 59 

Gas. Who offer 'd him the crown? 
Casca. Why, Antony. 
235 Bru, Tell us the manner of it, gentle Casca. 
Casca. I can as well be hang'd as tell the man- 
ner of it: it was mere foolery; I did not 
mark it. I saw Mark Antony offer him a 
crown;— yet 'twas not a crown neither, 
340 'twas one of these coronets ; — and, as I told 

you, he put it by once : but, for all that, to 
my thinking, he would fain have had it. 
Then he offer'd it to him again; then he put 
it by again: but, to my thinking, he was 
245 very loath to lay his fingers off it. And 

then he offer'd it the third time; he put it 
the third time by: and still as he refus'd it, 
the rabblement shouted and clapp'd their 
chapp'd hands and threw up their sweaty 
250 night-caps and utter' d such a deal of stink- 

ing breath because Caesar refus'd the crown 
that it had almost chok'd Caesar; for he 
swounded and fell down at it : and for mine 
own part, I durst not laugh, for fear of open- 
255 ing my lips and receiving the bad air. 

Cas. But, soft, I pray you: what, did Caesar 

swound? 
Casca. He fell down in the market-place, and 

foam'd at mouth, and was speechless. 
Bru. 'Tis very like: he hath the falling sickness. 
260 Cas. No, Caesar hath it not; but you and I 

And honest Casca, we have the falling sickness. 



60 JULIUS CAESAR. [Act I. Sc. ii. 

Casca, I know not what you mean by that ; but 
I am sure Caesar fell down. If the tag-rag 
people did not clap him and hiss him, ac- 
cording as he pleas 'd and displeas'd them, 265 
as they use to do the players in the theatre, 
I am no true man. 

Bru. What said he when he came unto himself? 

Casca. Marry, before he fell down, when he 
perceiv'd the common herd was glad he 270 
refus'd the crown, he plucked me ope his 
doublet and offer 'd them his throat to cut. 
An I had been a man of any occupation, if 
I would not have taken him at a word, I 
would I might go to hell among the rogues. 275 
And so he fell. When he came to himself 
again, he said. If he had done or said any 
thing amiss, he desir'd their worships to 
think it was his infirmity. Three or four 
wenches, where I stood, cried "Alas, good 280 
soul!" and forgave him with all their hearts: 
but there's no heed to be taken of them ; if 
Caesar had stabb'd their mothers, they would 
have done no less. 

Bru, And after that, he came, thus sad, away? 285 

Casca. Ay. 

Gas. Did Cicero say any thing? 

Casca. Ay, he spoke Greek. 

Cas. To what effect? 

Casca. Nay, an I tell you that, I'll ne'er look you 290 
i' th' face again : but those that understood 



Act I. Sc. ii.] JULIUS CAESAR. 61 

him smil'd at one another and shook their 
heads ; but, for mine own part, it was Greek 
to me. I could tell you more news too: 
295 Marullus and Flavins, for pulling scarfs off 

Caesar's images, are put to silence. Fare 
you well. There was more foolery yet, if I 
could remember it. 
Cas. Will you sup with me to-night, Casca? 
300 Casca. No, I am promis'd forth. 

Cas. Will you dine with me to-morrow? 

Casca. Ay, if I be alive and your mind hold and 

your dinner worth the eating. 
Cas. Good: I will expect you. 
805 Casca. Do so. Farewell, both. [Exit. 

Bru. What a blunt fellow is this grown to be ! 

He was quick mettle when he went to school. 
Cas. So is he now in execution 

Of any bold or noble enterprise, 
310 However he puts on this tardy form. 

This rudeness is a sauce to his good wit. 
Which gives men stomach to digest his words 
With better appetite. 
Bru. And so it is. For this time I will leave 
you: 
315 To-morrow, if you please to speak with me, 

I will conae home to you ; or, if you will, 
Come home to me, and I will wait for you. 
Cas. I will do so : till then, think of the world. 

[Exit Brutus, 
Well, Brutus, thou art noble ; yet, I see, 



62 JULIUS CAESAR. [Act I. Sc. iii. 

Thy honourable metal may be wrought 820 

From that it is disposed: therefore it is meet 
That noble minds keep ever with their likes ; 
For who so firm that cannot be seduc'd? 
Caesar doth bear me hard; but he loves 

Brutus : 
If I were Brutus now and he were Cassius, 325 
He should not humour me. I will this night, 
In several hands, in at his windows throw, 
As if they came from several citizens, 
Writings all tending to the great opinion 
That Rome holds of his name; wherein 330 

obscurely 
Caesar's ambition shall be glanced at : 
And after this let Caesar seat him sure; 
For we will shake him, or worse days endure. 

[Exit. 



SCEN^E III. 

The same. A street. 

Thunder and lightning. Enter, from opposite 
sides, Casca, with his sword drawn, and 
Cicero. 

Cic. Good even, Casca: brought you Caesar 
home? 
"Why are you breathless? and why stare you 
so? 



Act I. Sc. iii.] JULIUS CAESAR. 63 

Casca. Are not you mov'd, when all the sway of 
earth 
Shakes like a thing unfirm? Cicero, 
5 I have seen tempests, when the scolding 

winds 
Have riv'd the knotty oaks, and I have seen 
The ambitious ocean swell and rage and 

foam, 
To be exalted with the threat 'ning clouds: 
But never till to-night, never till now, 
10 Did I go through a tempest dropping fire. 

Either there is a civil strife in heaven. 
Or else the world, too saucy with the gods, 
Incenses them to send destruction. 
Cic. Why, saw you any thing more wonderful? 
15 Casca. A common slave — you know him well by 
sight — 
Held up his left hand, which did flame and 

burn 
Like twenty torches join'd, and yet his hand, 
Not sensible of fire, remain 'd unscorch'd. 
Besides — I ha' not since put up my sword — 
20 Against the Capitol I met a lion. 

Who glared upon me, and went surly by. 
Without annoying me: and there were 

drawn 
Upon a heap a hundred ghastly women. 
Transformed with their fear; who swore 
they saw 
25 Men all in fire walk up and down the streets. 



64 JULIUS CAESAR. [Act I. Sc. iii. 

And yesterday the bird of night did sit 
Even at noon-day upon the market-place, 
Hooting and shrieking. When these prodigies 
Do so conjointly meet, let not men say 
''These are their reasons; they are natural;" 30 
For, I believe, they are portentous things 
Unto the climate that they point upon. 
Cic, Indeed, it is a strange-disposed time : 

But men may construe things after their 

fashion. 
Clean from the purpose of the things them- 35 

selves. 
Comes Caesar to the Capitol to-morrow? 
Casca. He doth ; for he did bid Antonius 

Send word to you he would be there to-mor- 
row. 
Cic. Grood night then, Casca : this disturbed sky 

Is not to walk in. 
Casca. Farewell, Cicero. 40 

[Exit Cicero. 
Enter Cassius. 
Cas. Who's there? 
Casca. A Roman. 

Cas. Casca, by your voice. 

Casca. Your ear is good. Cassius, what night is 

this! 
Cas. A very pleasing night to honest men. 
Casca. Who ever knew the heavens menace so? 
Cas. Those that have known the earth so full of 45 
faults. 



Act I. Sc. iii.] JULIUS CAESAR. 65 

For my part, I have walk'd about the streets, 
Submitting me unto the perilous night, 
And, thus unbraced, Oasca, as you see. 
Have bar'd my bosom to the thunder-stone ; 
50 And when the cross blue lightning seem'd to 

open 
The breast of heaven, I did present myself 
Even in the aim and very flash of it. 
Casca. But wherefore did you so much tempt the 
heavens? 
It is the part of men to fear and tremble, 
55 When the most mighty gods by tokens send 

Such dreadful heralds to astonish us. 
Gas. You are dull, Casca, and those sparks of 
life 
That should be in a Koman you do want, 
Or else you use not. You look pale and gaze 
60 And put on fear and cast yourself in wonder, 

To see the strange impatience of the heavens: 
But if you would consider the true cause 
Why all these fires, why all these gliding 

ghosts. 
Why birds and beasts from quality and kind, 
65 Why old men, fools, and children calculate. 

Why all these things change from their 

ordinance 
Their natures and preformed faculties 
To monstrous quality, why, you shall find 
That heaven hath infus'd them with these 
spirits, 



66 JULIUS CAESAR. [Act I. So. iii. 

To make them instruments of fear and warn- 70 
ing 

Unto some monstrous state. 

Now could I, Casca, name to thee a man 

Most like this dreadful night, 

That thunders, lightens, opens graves, and 
roars 

As doth the lion in the Capitol, 75 

A man no mightier than thyself or me 

In personal action, yet prodigious grown 

And fearful, as these strange eruptions are. 
Casca. 'Tis Caesar that you mean; is it not, Oas- 

sius? 
Cas. Let it be who it is : for Romans now so 

Have thews and limbs like to their ancestors ; 

But, woe the while! our fathers' minds are 
dead, 

And we are govern'd with our mothers' 
spirits ; 

Our yoke and sufferance show us womanish. 
Casca. Indeed, they say the senators to-morrow 85 

Mean to establish Caesar as a king ; 

And he shall wear his crown by sea and land, 

In every place, save here in Italy. 
Cas. I know where I will wear this dagger then ; 

Cassius from bondage will deliver Cassius : 9o 

Therein, ye gods, you make the weak most 
strong ; 

Therein, ye gods, you tyrants do defeat: 

l^or stony tower, nor walls of beaten brass, 



Act I. Sc. iii.] JULIUS CAESAR. 67 

IsoT airless dungeon, nor strong links of iron, 
95 Can be retentive to the strength of spirit ; 

But life, being weary of these worldly bars, 
Never lacks power to dismiss itself. 
If I know this, know all the world besides, 
That part of tyranny that I do bear 
100 I can shake off at pleasure. 

[Thunder still. 
Oasca. So can I : 

So every bondman in his own hand bears 
The power to cancel his captivity. 
Cas. And why should Caesar be a tyrant then? 
Poor man ! I know he would not be a wolf, 
105 But that he sees the Eomans are but sheep : 

He were no lion, were not Eomans hinds. 
Those that with haste will make a mighty fire 
Begin it with weak straws: what trash is 

Kome, 
What rubbish and what offal, when it serves 
no For the base matter to illuminate 

So vile a thing as Caesar ! But, grief, 
Where hast thou led me? I perhaps speak 

this 
Before a willing bondman ; then I know 
My answer must be made. But I am arm'd, 
115 And dangers are to me indifferent. 

Casca. You speak to Casca, and to such a man 
That is no fleering tell-tale. Hold, my hand : 
Be factious for redress of all these griefs, 
And I will set this foot of mine as far 



68 JULIUS CAESAR. [Act I. Sc. iii. 

As who goes farthest. 
Gas, There's a bargain made. 120 

Now know you, Casca, I have mov'd already 
Some certain of the noblest-minded Romans 
To undergo with me an enterprise 
Of honourable- dangerous consequence; 
And I do know, by this, they stay for me 125 
In Pompey's porch: for now, this fearful 

night, 
There is no stir or walking in the streets ; 
And the complexion of the element 
In favour 's like the work we have in hand, 
Most bloody, fiery, and most terrible. i3o 

Casca. Stand close awhile, for here comes one in 

haste. 
Cas. 'Tis Oinna; I do know him by his gait; 
He is a friend. 

Enter Cinna. 

Cinna, where haste you so? 
Oin. To find out you. Who's that? Metellus 

Cimber? 
Cas. No, it is Casca; one incorporate 135 

To our attempts. Am I not stay'd for, 
Oinna? 
Cin. I am glad on't. What a fearful night is 
this! 
There's two or three of us have seen strange 
sights. 
Cas. Am I not stay'd for? tell me. 
Gin. Yes, you are. 



Act I. Sc. iii.] JULIUS CAESAR. 69 

140 Oassius, if you could 

But win the noble Brutus to our party — 
Cas. Be you content: good Cinna, take this 
paper, 
And look you lay it in the praetor's chair, 
Where Brutus may but find it ; and throw this 
145 In at his window ; set this up with wax 

Upon old Brutus' statue : all this done, 
Kepair to Pompey's porch, where you shall 

find us. 
Is Decius Brutus and Trebonius there? 
Cin. All but Metellus Cimber; and he's gone 
150 To seek you at your house. Well, I will hie. 

And so bestow these papers as you bade me. 
Cas. That done, repair to Pompey's theatre. 

[Exit Cinna, 
Come, Casca, you and I will yet ere day 
See Brutus at his house : three parts of him 
155 Is ours already, and the man entire 

Upon the next encounter yields him ours. 
Casca. 0, he sits high in all the people's hearts: 
And that which would appear offence in us. 
His countenance, like richest alchemy, 
160 Will change to virtue and to worthiness. 

Cas. Him and his worth and our great need of 
him 
You have right well conceited. Let us go. 
For it is after midnight ; and ere day 
We will awake him and be sure of him. 

[Exeunt. 



ACT SECOND. 

Scene I. 

Rome, Brutus'' s orchard. 
Enter Brutus. 

Bru. What, Lucius, ho! 

I cannot by the progress of the stars. 
Give guess how near to day. Lucius, I say ! 
I would it were my fault to sleep so soundly. 
When, Lucius, when? awake, I say! what, 5 
Lucius ! 

Enter Lucius, 
Luc. Call'd you, my lord? 
Bru, Get me a taper in my study, Lucius : 

When it is lighted, come and call me here. 
Luc, I will, my lord. [Exit. 

Bru. It must be by his death : and for my part, 10 
I know no personal cause to spurn at him, 
But for the general. He would be crown'd : 
How that might change his nature, there's 

the question. 
It is the bright day that brings forth the 

adder ; 
And that craves wary walking. Crown him ? 15 

— that ; — 
And then, I grant, we put a sting in him, 
That at his will he may do danger with. 

70 



AcTlLSc. i.] JULIUS CAESAR. 71 

The abuse of greatness is, when it disjoins 
Eemorse from power : and, to speak truth of 

Caesar, 
20 I have not known when his affections swayed 

More than his reason. But 'tis a common 

proof. 
That lowliness is young ambition's ladder, 
Whereto the climber upward turns his face ; 
But when he once attains the upmost round, 
25 He then unto the ladder turns his back, 

Looks in the clouds, scorning the base degrees 
By which he did ascend. So Caesar may; 
Then, lest he may, prevent. And, since the 

quarrel 
Will bear no colour for the thing he is, 
30 Fashion it thus ; that what he is, augmented, 

Would run to these and these extremities : 
And therefore think him as a serpent's egg 
Which, hatch 'd, would, as his kind, grow 

mischievous. 
And kill him in the shell. 

Re-enter Lucius. 

85 Luc. The taper burneth in your closet, sir. 

Searching the window for a flint, I found 
This paper, thus seal'd up; and I am sure 
It did not lie there when I went to bed. 

\^Gives Mm the letter, 
Bru. Get you to bed again ; it is not day. 
40 Is not to-morrow, boy, the ides of March? 



72 JULIUS CAESAR. [Act II. So. i 

Luc. I know not, sir. 

Bru. Look in the calendar, and bring me word. 
Luc. I will, sir. [Exit. 

Bru. The exhalations whizzing in the air 

Give so much light that I may read by them. 45 
[ Opens the letter and reads. 

"Brutus, thou sleep 'st : awake, and see thyself. 
Shall Rome, etc. Speak, strike, redress ! " 

"Brutus, thou sleep 'st: awake!" 
Such instigations have been often dropp'd 
Where I have took them up. so 

*' Shall Kome, etc." Thus must I piece it 

out: 
Shall Rome stand under one man's awe? 

What, Rome? 
My ancestors did from the streets of Rome 
The Tarquin drive, when he was call'd a 

king. 
*' Speak, strike, redress!" Am I entreated 55 
To speak and strike? Rome, I make thee 

promise ; 
If the redress will follow, thou receivest 
Thy full petition at the hand of Brutus ! 

Re-enter Lucius. 

Luc. Sir, March is wasted fifteen days. 

[Knocking within. 
Bru. 'Tis good. Go to the gate; somebody 60 
knocks. [Exit Lucius, 



Act II. Sc. i.] JULIUS CAESAR. 73 

Since Cassius first did whet me against 

Caesar, 
I have not slept. 

Between the acting of a dreadful thing 
And the first motion, all the interim is 
65 Like a phantasma, or a hideous dream : 

The Genius and the mortal instruments 
Are then in council ; and the state of man, 
Like to a little kingdom, suffers then 
The nature of an insurrection. 

Re-enter Lucius. 

70 Luc, Sir, 'tis your brother Cassius at the door, 
Who doth desire to see you. 
Bru. Is he alone? 

Luc. No, sir, there are moe with him. 
Bru. Do you know them? 

Luc. No, sir ; their hats are pluck'd about their 
ears. 
And half their faces buried in their cloaks, 
75 That by no means I may discover them 

By any mark of favour. 
Bru. Let 'em enter. 

\^Exit Lucius, 
They are the faction. conspiracy, 
Sham'st thou to show thy dang'rous brow by 

night, 
When evils are most free? 0, then by day 
80 Where wilt thou find a cavern dark enough 

To mask thy monstrous visage? Seek none, 
conspiracy ; 



74 JULIUS CAESAR. [Act II. Sc. i. 

Hide it in smiles and affability : 

For if thou path, thy native semblance on, 

Not Erebus itself were dim enough 

To hide thee from prevention. , 85 

Enter the conspirators^ Cassius, Casca, Decius, 
Cinna, Metellus Cimber^ and Trehonius. 

Cas. I think we are too bold upon your rest : 
Good morrow, Brutus ; do we trouble you? 

Bru. I have been up this hour, awake all night. 
Know I these men that come along with you? 

Cas. Yes, every man of them ; and no man^here 90 
But honours you ; and every one doth wish 
You had but that opinion of yourself 
Which every noble Roman bears of you. 
This is Tf ebonius. 

Bru. He is welcome hither. 

Cas. This, Decius Brutus. 

Bru. He is welcome too. 95 

Cas. This, Casca; this, Cinna; and this, Metel- 
lus Cimber. 
Bru. They are all welcome. 

"What watchful cares do interpose themselves 

Betwixt your eyes and night? 

Cas. Shall I entreat a word? 100 

[Brutus and Cassius whisper. 

Dec. Here lies the east : doth not the day break 

here? 
Casca. No. 

Cin. 0, pardon, sir, it doth; and yon gray lines 

That fret the clouds are messengers of day. 



Act II. Sc. i.] JULIUS CAESAR. 75 

105 Casca. You shall confess that you are both 
deceiv'd. 
Here, as I point my sword, the sun arises, 
Which is a great way growing on the south. 
Weighing the youthful season of the year. 
Some two months hence up higher toward 
the north 
110 He first presents his fire ; and the high east 

Stands, as the Capitol, directly here. 
Bru. Give me your hands all over, one by one. 
Cas. And let us swear our resolution. 
Bru. No, not an oath : if not the face of men, 
115 The sufferance of our souls, the time's 

abuse, — 
If these be motives weak, break off betimes, 
And every man hence to his idle bed; 
So let high-sighted tyranny range on. 
Till each man drop by lottery. But if these, 
120 As I am sure they do, bear fire enough 

To kindle cowards and to steel with valour 
The melting spirits of women, then, country- 
men, 
What need we any spur but our own cause. 
To prick us to redress? what other bond 
125 Than secret Eomans, that have spoke the 

word. 
And will not palter? and what other oath 
Than honesty to honesty engag'd. 
That this shall be, or we will fall for it? 
Swear priests and cowards and men cautelous, 



76 JULIUS CAESAR. [Act II. Sc. i. 

Old feeble carrions and such suffering souls i3o 
That welcome wrongs ; unto bad causes swear 
Such creatures as men doubt; but do not 

stain 
The even virtue of our enterprise, 
Nor th' insuppressive mettle of our spirits, 
To think that or our cause or our perform- 135 

ance 
Did need an oath ; when every drop of blood 
That every Koman bears, and nobly bears. 
Is guilty of a several bastardy. 
If he do break the smallest particle 
Of any promise that hath pass'd from him. 140 

Cas. But what of Cicero? shall we sound him? 
I think he will stand very strong with us. 

Casca. Let us not leave him out. 

Cin. No, by no means. 

Met. 0, let us have him, for his silver hairs 

Will purchase us a good opinion 145 

And buy men's voices to commend our 

deeds : 
It shall be said, his judgment rul'd our 

hands ; 
Our youths and wildness shall no whit appear, 
But all be buried in his gravity. 

Bru. 0, name him not: let us not break with 150 
him; 
Eor he will never follow any thing 
That other men begin. 

Cas. Then leave him out. 



Act II. Sc. i.] JULIUS CAESAR. 77 

Casca. Indeed he is not fit. 

Dec. Shall no man else be touch 'd but only 
Caesar? 
155 Cas. Decius, well urg'd: I think it is not meet, 
Mark Antony, so well belov'd of Caesar, 
Should outlive Caesar : we shall find of him 
A shrewd contriver; and, you know, his 

means. 
If he improve them, may well stretch so far 
160 As to annoy us all : which to prevent, 

Let Antony and Caesar fall together. 
Bru, Our course will seem too bloody, Caius 
Cassins, 
To cut the head off and then hack the limbs, 
Like wrath in death and envy afterwards; 
165 For Antony is but a limb of Caesar : 

Let us be sacrificers, but not butchers, Caius. 
We all stand up against the spirit of Caesar; 
And in the spirit of men there is no blood : 
0, that we then could come by Caesar's 
spirit, 
170 And not dismember Caesar ! But, alas, 

Caesar must bleed for it! And, gentle 

friends. 
Let's kill him boldly, but not wrathfully; 
Let's carve him as a dish fit for the gods, 
Not hew him as a carcass fit for hounds : 
175 And let our hearts, as subtle masters do. 

Stir up their servants to an act of rage. 
And after seem to chide 'em. This shall make 



78 JULIUS CAESAR. [Act II. So. i. 

Our purpose necessary and not envious: 
Which so appearing to the common eyes, 
We shall be call'd purgers, not murderers. iso 
And for Mark Antony, think not of him ; 
For he can do no more than Caesar's arm 
When Caesar's head is off. 

Cas. Yet I fear him; 

For in the ingrafted love he bears to Caesar — 

Btii. Alas, good Cassius, do not think of him: iss 
If he love Caesar, all that he can do 
Is to himself, take thought and die for 

Caesar : 
And that were much he should; for he is 

given 
To sports, to wildness and much company. 

Treb. There is no fear in him ; let him not die ; 190 
For he will live, and laugh at this hereafter. 

l^Clock strihes. 

Brtt. Peace ! count the clock. 

Cas. The clock hath stricken three. 

Treh. 'Tis time to part. 

Cas. But it is doubtful yet, 

Whether Caesar will come forth to-day, or no ; 
For he is superstitious grown of late, 195 

Quite from the main opinion he held once 
Of fantasy, of dreams and ceremonies : 
It may be, these apparent prodigies. 
The unaccustom'd terror of this night, 
And the persuasion of his augurers. 
May hold him fi'om the Capitol to-day. 



200 



Act II. Sc. i.] JULIUS CAESAR. 79 

Dec. Never fear that : if he be so resolv'd, 
I can o'ersway him; for he loves to hear 
That unicorns may be betray' d with trees, 
205 And bears with glasses, elephants with holes, 

Lions with toils and men with flatterers; 
But when I tell him he hates flatterers, 
He says he does, being then most flattered. 
Let me work ; 
310 For I can give his humour the true bent, 

And I will bring him to the Capitol. 
Cas. Nay, we will all of us be there to fetch him. 
Bru. By the eighth hour : is that the uttermost? 
Cin. Be that the uttermost, and fail not then. 
215 Met. Caius Ligarius doth bear Caesar hard. 

Who rated him for speaking well of Pompey : 
I wonder none of you have thought of him. 
Bru. Now, good Metellus, go along by him : 

He loves me well, and I have given him 
reasons ; 
220 Send him but hither, and I'll fashion him. 

Cas. The morning comes upon 's: we'll leave 
you, Brutus. 
And, friends, disperse yourselves; but all 

remember 
What you have said, and show yourselves 
true Eomans. 
Bru. Good gentlemen, look fresh and merrily ; 
225 Let not our looks put on our purposes. 

But bear it as our Eoman actors do. 
With untir'd spirits and formal constancy: 



80 JULIUS CAESAR. [Act II. Sc. i. 

And so good morrow to you every one. 

\^Exeunt all hut Brutus. 
Boy! Lucius! Fast asleep? It is no matter ; 
Enjoy the honey-heavy dew of slumber : 280 

Thou hast no figures nor no fantasies, 
Which busy care draws in the brains of men : 
Therefore thou sleep 'st so sound. 

Enter Portia, 

Por. Brutus, my lord! 

Bru. Portia, what mean you? wherefore rise you 

now? 

It is not for your health thus to commit 235 

Your weak condition to the raw cold morning. 

Por. !Nor for yours neither. You've ungently, 

Brutus, 

Stole from my bed : and yesternight, at sup- 
per, 

You suddenly arose, and walk'd about. 

Musing and sighing, with your arms across, 240 

And when I ask'd you what the matter was, 

You star'd upon me with ungentle looks; 

I urg'd you further; then you scratch'd your 

head. 

And too impatiently stamp'd with your foot; 

Yet I insisted; yet you answer 'd not, 245 

But, with an angry wafture of your hand, 

Gave sign for me to leave you : so I did ; 

Fearing to strengthen that impatience 

Which seem'd too much enkindled, and withal 

Hoping it was but an effect of humour, aso 



Act II. Sc. i.J JULIUS CAESAR. 81 

Which sometime hath his hour with every 

man. 
It will not let yon eat, nor talk, nor sleep, 
And could it work so much upon your shape 
As it hath much prevail' d on your condition, 
255 I should not know you, Brutus. Dear my 

lord, 
Make me acquainted with your cause of grief. 
Bru. I am not well in health, and that is all. 
For. Brutus is wise, and, were he not in health, 
He would embrace the means to come by it. 
260 Bru. Why, so I do. Good Portia, go to bed. 
For. Is Brutus sick? and is it physical 

To walk unbraced and suck up the humours 
Of the dank morning? What, is Brutus sick, 
And will he steal out of his wholesome bed, 
265 To dare the vile contagion of the night 

And tempt the rheumy and unpurged air 
To add unto his sickness? No, my Brutus; 
You have some sick offence within your mind, 
Which, by the right and virtue of my place, 
270 I ought to know of : and, upon my knees, 

I charm you, by my once commended beauty, 
By all your vows of love and that great vow 
Which did incorporate and make us one. 
That you unfold to me, yourself, your half, 
875 Why you are heavy, and what men to-night 

Have had resort to you : for here have been 
Some six or seven, who did hide their faces 
Even from darkness. 



82 JULIUS CAESAR. [Act II. Sc. i. 

Bru. Kneel not, gentle Portia. 

For. I should not need, if you were gentle 
Brutus. 
Within the bond of marriage, tell me, Brutus, 28o 
Is it excepted I should know no secrets 
That appertain to you? Am I yourself 
But, as it were, in sort or limitation. 
To keep with you at meals, comfort your bed, 
And talk to you sometimes? Dwell I but in 285 

the suburbs 
Of your good pleasure? If it be no more, 
Portia is Brutus' harlot, not his wife. 

Bru. You are my true and honourable wife, 
As dear to me as are the ruddy drops 
That visit my sad heart. 290 

Por. If this were true, then should I know this 
secret. 
I grant I am a woman ; but withal 
A woman that Lord Brutus took to wife: 
I grant I am a woman ; but withal 
A woman well-reputed, Cato's daughter. 295 

Think you I am no stronger than my sex. 
Being so father 'd and so husbanded? 
Tell me your counsels, I will not disclose 'em : 
I have made strong proof of my constancy, 
Giving myself a voluntary wound 300 

Here, in the thigh: can I bear that with 

patience. 
And not my husband's secrets? 

Bru, ye gods! 



Act II. Sc. i] JULIUS CAESAR. 83 

Bender me worthy of this noble wife ! 

[Knocking within. 
Hark, hark! one knocks: Portia, go in 
awhile ; 
805 And by and by thy bosom shall partake 

The secrets of my heart. 
All my engagements I will construe to thee, 
All the charactery of my sad brows : 
Leave me with haste. [Exit Portia.] 

Lucius, who's that knocks? 
Re-enter Lucius with Ligarius. 

310 Luc. Here is a sick man that would speak with 
you. 

Bru. Caius Ligarius, that Metellus spake of. 
Boy, stand aside. Oaius Ligarius ! how? 
Lig. Vouchsafe good morrow from a feeble 

tongue. 
Bru. 0, what a time have you chose out, brave 
Caius, 
315 To wear a kerchief! Would you were not 

sick ! 
Lig. I am not sick, if Brutus have in hand 

Any exploit worthy the name of honour. 
Bru. Such an exploit have I in hand, Ligarius, 
Had you a healthful ear to hear of it. 
330 Lig. By all the gods that Romans bow before, 

I here discard my sickness ! Soul of Eome ! 
Brave son, deriv'd from honourable loins! 
Thou, like an exorcist, hast conjur'd up 
My mortified spirit. Now bid me run, 



84 JULIUS CAESAR. [Act II. Sc. ii. 

And I will strive with things impossible ; 825 

Yea, get the better of them. What's to do? 
Bru. A piece of work that will make sick men 

whole. 
Lig, But are not some whole that we must make 

sick? 
Bru. That must we also. What it is, my Caius, 

I shall unfold to thee, as we are going sso 

To whom it must be done. 
Lig. Set on your foot, 

And with a heart new-fir'd I follow you, 

To do I know not what : but it sufficeth 

That Brutus leads me on. 
Bru. Follow me, then. 

[Exeunt. 



Scene II. 

Caesar'' s house. 

Thunder and lightning. Enter Caesar^ in his 
night-gown. 

Caes. Nor heaven nor earth have been at peace 

to-night : 
Thrice hath Calpurnia in her sleep cried out, 
**Help! ho! they murther Caesar!" Who's 

within? 

Enter a Servant, 
Serv. My lord? 



Act II. So. ii.] JULIUS CAESAR. 85 

5 Caes. Go bid the priests do present sacrifice 
And bring me their opinions of success. 
Serv, I will, my lord. \Exit, 

Enter Calpurnia, 
Cah What mean you, Caesar? think you to walk 
forth? 
You shall not stir out of your house to-day. 
10 Caes, Caesar shall forth : the things that threat- 
ened me 
Ne'er look'd but on my back; when they 

shall see 
The face of Caesar, they are yanished. 
Cal. Caesar, I never stood on ceremonies, 

Yet now they fright me. There is one 
within, 
15 Besides the things that we have heard and 

seen, 
Kecounts most horrid sights seen by the 

watch. 
A lioness hath whelped in the streets ; 
And graves have yawn'd, and yielded up 

their dead; 
Fierce fiery warriors fight upon the clouds, 
30 In ranks and squadrons and right form of 

war, 
Which drizzled blood upon the Capitol ; 
The noise of battle hurtled in the air, 
Horses did neigh, and dying men did groan. 
And ghosts did shriek and squeal about the 
streets. 



86 JULIUS CAESAR. [Act II. Sc. ii. 

Caesar! these things are beyond all nse, 25 

And I do fear them. 
Cues. "What can be avoided 

Whose end is purposed by the mighty gods? 

Yet Caesar shall go forth ; for these predic- 
tions 

Are to the world in general as to Caesar. 
Cal. When beggars die, there are no comets seen ; 30 

The heavens themselves blaze forth the death 
of princes. 
Caes. Cowards die many times before their deaths ; 

The valiant never taste of death but once. 

Of all the wonders that I yet have heard, 

It seems to me most strange that men should 35 
fear, 

Seeing that death, a necessary end, 

Will come when it will come. 

Re-enter Servant. 

What say the augurers? 
Serv. They would not have you to stir forth to- 
day. 
Plucking the entrails of an offering forth. 
They could not find a heart within the beast. 40 
Caes. The gods do this in shame of cowardice : 
Caesar should be a beast without a heart, 
If he should stay at home to-day for fear. 
No, Caesar shall not : danger knows full well 
That Caesar is more dangerous than he : 45 

We are two lions litter 'd in one day, 
And I the elder and more terrible : 



Act II. Sc. ii.] JULIUS CAESAR. 87 

And Caesar shall go forth. 
Cdl. Alas, my lord, 

Your wisdom is consum'd in confidence. 

50 Do not go forth to-day: call it my fear 

That keeps you in the house, and not your 

own. 
We'll send Mark Antony to the senate-house j 
And he shall say you are not well to-day : 
Let me, upon my knee, prevail in this. 

55 Caes. Mark Antony shall say I am not well ; 

And, for thy humour, I will stay at home. 

Enter Decius. 
Here's Decius Brutus, he shall tell them so. 
Dec. Caesar, all hail! good morrow, worthy 
Caesar : 
I come to fetch you to the senate-house. 
60 Caes. And you are come in very happy time, 
To bear my greetings to the senators 
And tell them that I will not come to-day : 
Cannot, is false, and that I dare not, falser : 
I will not come to-day : tell them so, Decius. 
65 Cah Say he is sick. 

Caes. Shall Caesar send a lie? 

Have I in conquest stretch 'd mine arm so far, 
To be afeard to tell graybeards the truth? 
Decius, go tell them Caesar will not come. 
Dec. Most mighty Caesar, let me know some 
cause, 
70 Lest I be laugh 'd at when I tell them so. 

Caes. The cause is in my will ; I will not come ; 



88 JULIUS CAESAR. [Act II. So. ii. 

That is enougli to satisfy the senate. 
But for your private satisfaction, 
Because I love you, I will let you know : 
Calpurnia here, my wife, stays me at home : 75 
She dreamt to-night she saw my statue. 
Which, like a fountain with an hundred 

spouts. 
Did run pure blood;" and many lusty Komans 
Came smiling, and did bathe their hands in 

it: 
And these does she apply for warnings, and so 

portents. 
And evils imminent ; and on her knee 
Hath begg'd that I will stay at home to-day. 
Dec. This dream is all amiss interpreted ; 
It was a vision fair and fortunate : 
Your statue spouting blood in many pipes, 85 
In which so many smiling Romans bath'd. 
Signifies that from you great Rome shall suck 
Reviving blood, and that great men shall 

press 
For tinctures, stains, relics and cognizance. 
This by Calpurnia's dream is signified. 90 

Caes. And this way have you well expounded it. 
Dec. I have, when you have heard what I can 

say: 
And know it now : the senate have concluded 
To give this day a crown to mighty Caesar. 
If you shall send them word you will not 95 

come. 



Act II. Sc. ii.] JULIUS CAESAR. 89 

Their minds may change. Besides, it were a 

mock 
Apt to be rendered, for some one to say, 
* 'Break up the senate till another time. 
When Caesar's wife shall meet with better 

dreams." 
100 If Caesar hide himself, shall they not 

whisper, 
**Lo, Caesar is afraid?" 
Pardon me, Caesar ; for my dear dear love 
To your proceeding bids me tell you this; 
And reason to my love is liable. 
105 Caes. How foolish do your fears seem now, 

Calpurnia ! 
I am ashamed I did yield to them. 
Give me my robe, for I will go. 

Enter PuUius, Brutus, Ligarius, Metellus, 
Casca, Trebonius, and Ciniia. 

And look where Publius is come to fetch me. 
Puh, Good morrow, Caesar. 
^«^«- Welcome, Publius. 

no What, Brutus, are you stirr'd so early too? 

Good morrow, Casca. Caius Ligarius, 
Caesar was ne'er so much your enemy 
As that same ague which hath made you lean. 
What is 't o'clock? 
■^^^- Caesar, 't is strucken eight. 

115 Caes. I thank you for your pains and courtesy. 

Enter Antony. 



90 JULIUS CAESAR. [Act II. Sc. HI 

See ! Antony, that revels long o' nights, 
Is notwithstanding up. Good morrow, 
Antony. 
Ant, So to most noble Caesar. 
Caes. Bid them prepare within : 

I am to blame to be thns waited for. 
Now, Cinna: now, Metellus: what, Tre- 120 

bonius ! 
I have an hour's talk in store for you; 
Eemember that you call on me to-day: 
Be near me, that I may remember you. 
Trei. Caesar, I will: [Aside] and so near will 
I be. 
That your best friends shall wish I had been 125 
further. 
Caes. Good friends, go in, and taste some wine 
with me; 
And we, like friends, will straightway go 
together. 
Bru. [Aside"] That every like is not the same, 
Caesar, 
The heart of Brutus yearns to think upon ! 

[Exeunt. 

Scene III. 

A street near the Capitol. 
Enter Artemidorus, reading a paper. 

Art. Caesar, beware of Brutus; take heed of Cassius; 
come not near Casca; have an eye to Cinna; trust 



Act II. Sc. iv.] JULIUS CAESAR. 91 

not Trebonius ; mark well Metellus Cimber : Decius 
Brutus loves thee not : thou hast wronged Caius 
5 Ligarius. There is but one mind in all these men, 

and it is bent against Caesar. If thou beest not 
immortal, look about you : security gives way to 
conspiracy. The mighty gods defend thee ! Thy 
lover, Artemidorus. 

10 Here will I stand till Caesar pass along, 

And as a suitor will I give him this. 

My heart laments that virtue cannot live 

Out of the teeth of emulation. 

If thou read this, Caesar, thou mayst live ; 
15 If not, the Fates with traitors do contrive. 

[Exit, 

SCEIfTE IV. 

Another part of the sa7ne street^ hefore the 
house of Brutus. 

Enter Portia and Lucius. 

Por. I prithee, boy, run to the senate-house ; 
Stay not to answer me, but get thee gone : 
Why dost thou stay? 
Luc. To know my errand, madam. 

Por. I would have had thee there, and here again, 
5 Ere I can tell thee what thou shouldst do 

there. 
constancy, be strong upon my side, 
Set a huge mountain 'tween my heart and 
tongue ! 



92 JULIUS CAESAR. [Act II. Sc. iv. 

I have a man's mind, but a woman's might. 

How hard it is for women to keep counsel! 

Art thou here yet? 
Luc. Madam, what should I do? lo 

Eun to the Capitol, and nothing else? 

And so return to you, and nothing else? 
Por. Yes, bring me word, boy, if thy lord look 
well, 

For he went sickly forth : and take good note 

What Caesar doth, what suitors press to him. is 

Hark, boy! what noise is that? 
Luc. I hear none, madam. 
Por. Prithee, listen well; 

I heard a bustling rumour, like a fray, 

And the wind brings it from the Capitol. 
Luc. Sooth, madam, I hear nothing. so 

Enter the Soothsayer. 

Por. Come hither, fellow: which way hast thou 
been? 

Sooth. At mine own house, good lady. 

Por. What is 't o'clock? 

Sooth. About the ninth hour, lady. 

Por. Is Caesar yet gone to the Capitol? 

Sooth. Madam, not yet : I go to take my stand, 25 
To see him pass on to the Capitol. 

Por. Thou hast some suit to Caesar, hast thou not? 

Sooth. That I have, lady : if it will please Caesar 
To be so good to Caesar as to hear me, 
I shall beseech him to befriend himself. so 



Act II. Sc. iv.] JULIUS CAESAR. 93 

Por. Why, know'st thou any harm's intended 

towards him? 
Sooth. None that I know will be, much that I fear 
may chance. 
Good morrow to you. Here the street is 

narrow : 
The throng that follows Caesar at the heels, 
35 Of senators, of praetors, common suitors, 

Will crowd a feeble man almost to death : 
I'll get me to a place more void, and there 
Speak to great Caesar as he comes along. 

[Exit. 
Por. I must go in. Ay me, how weak a thing 
40 The heart of woman is! Brutus, 

The heavens speed thee in thine enterprise ! 
[To herself^ Sure, the boy heard me: [To 

Lucius] Brutus hath a suit 
That Caesar will not grant. 0, 1 grow faint. 
Eun, Lucius, and commend me to my lord; 
45 Say I am merry : come to me again. 

And bring me word what he doth say to thee. 

[Exeunt severally. 



ACT THIED. 

SCEN"E I. 

Rome. Before the Capitol. 

A crowd of people; among them Artemidorus and 
the Soothsayer. Flourish. Enter Caesar, 
Brutus, CassiuSy Casca, Decius, Metellus, 
Trehonius, Cinna, Antony, Lepidus, Popi- 
lius, Publius, and others. 

Gaes. [To the Soothsayer.^ The ides of March are 
come. 

Sooth. Ay, Caesar; but not gone. 

Art. Hail, Caesar ! read this schedule. 

Dec. Trebonius doth desire you to o'er-read, 

At your best leisure, this his humble suit. 5 

Art. Caesar, read mine first; for mine's a suit 
That touches Caesar nearer: read it, great 
Caesar. 

Caes. What touches us ourself shall be last served. 

Art. Delay not, Caesar; read it instantly. 

Caes. What, is the fellow mad? 

Pul. Sirrah, give place, lo 

Cas. What, urge you your petitions in the street? 
Come to the Capitol. 

Caesar goes up to the Senate-House, the rest fol- 
lowing. 

Pop. I wish your enterprise to-day may thrive. 

94 



Act III. Sc. i.] JULIUS CAESAR. 95 

Cas. What enterprise, Popilius? 
Pop, Fare you well. 

[Advances to Caesar. 
15 Bru. What said Popilius Lena? 

Gas. He wished to-day our enterprise might 
thrive. 
I fear our purpose is discovered. 
Bru. Look, how he makes to Caesar : mark him. 
Gas. Casca, be sudden, for we fear prevention. 
30 Brutus, what shall be done? If this be 

known, 
Cassius or Caesar never shall turn back, 
For I will slay myself. 
Bru. Cassius, be constant: 

Popilius Lena speaks not of our purposes ; 
For, look, he smiles, and Caesar doth not 
change. 
35 Gas. Trebonius knows his time; for, look you, 
Brutus, 
He draws Mark Antony out of the way. 

[Exeunt Antony and Trehonius. 
Dec. Where is Metellus Cimber? Let him go. 

And presently prefer his suit to Caesar. 
Bru. He is addressed : press near and second him. 
30 Gin. Casca, you are the first that rears your hand. 
Gaes. Are we all ready? What is now amiss 

That Caesar and his senate must redress? 
Met. Most high, most mighty, and most puissant 
Caesar, 
Metellus Cimber throws before thy seat 



96 JULIUS CAESAR. [Act III. Sc. i. 

An htimble heart, — [Kneeling. 

Caes. I must prevent thee, Cimber. 35 

These crouchings and these lowly courtesies 
Might fire the blood of ordinary men, 
And turn pre-ordinance and first decree 
Into the law of children. Be not fond, 
To think that Caesar bears such rebel blood 4o 
That will be thaw'd from the true quality 
With that which melteth fools ; I mean, sweet 

words. 
Low-crooked court 'sies and base spaniel -fawn- 
ing. 
Thy brother by decree is banished : 
If thou dost bend and pray and fawn for 45 

him, 
I spurn thee like a cur out of my way. 
Know, Caesar doth not wrong, nor without 

cause 
"Will he be satisfied. 

Met. Is there no voice more worthy than my own. 
To sound more sweetly in great Caesar's ear so 
For the repealing of my banish'd brother? 

Bru. I kiss thy hand, but not in flattery, Caesar ; 
Desiring thee that Publius Cimber may 
Have an immediate freedom of repeal. 

Caes. What, Brutus ! 

Cas. Pardon, Caesar; Caesar, pardon: 55 

As low as to thy foot doth Cassius fall. 
To beg enfranchisement for Publius Cimber. 

Caes. I could be well mov'd, if I were as you : 



Act III. So. i.] JULIUS CAESAR. 97 

If I could pray to move, prayers would move 
me: 
60 But I am constant as the northern star, 

Of whose true-fix 'd and resting qualil^ 
There is no fellow in the firmament. 
The skies are painted with unnumber'd 

sparks, 
They are all fire and every one doth shine ; 
«5 But there's but one in all doth hold his place : 

So in the world: 't is furnish 'd well with 

men, 
And men are flesh and blood, and apprehen- 
sive; 
Yet in the number I do know but one 
That unassailable holds on his rank, 
70 TJnshak'd of motion: and that I am he, 

Let me a little show it, even in this ; 
That I was constant Cimber should be 

banish 'd. 
And constant do remain to keep him so. 
Cin. Caesar, — 

Caes. Hence! wilt thou lift up Olympus? 

75 Dec. Great Caesar, — 

Caes. Doth not Brutus bootless kneel? 

Casca. Speak, hands, for me! 

\_Casca first, then the other Conspirators and 
Marcus Brutus stal Caesar. 
Caes. EttUyBrute! Then fall, Caesar! [Dies. 
Cin, Liberty ! Freedom ! Tyranny is dead ! 
Run hence, proclaim, cry it about the streets. 



98 JULIUS CAESAR. [Act III. So. i. 

Oas. Some to the common pulpits, and cry out so 

*' Liberty, freedom, and enfranchisement!" 
Bru. People and senators, be not affrighted; 

Fly not ; stand still : ambition's debt is paid. 
Casca. Go to the pulpit, Brutus. 
Dec. And Cassius too. 

Bru. Where's Publius? 85 

Cin. Here, quite confounded with this mutiny. 
Met. Stand fast together, lest some friend of 
Caesar's 

Should chance — 
Bru. Talk not of standing. Publius, good cheer; 

There is no harm intended to your person, 90 

Nor to no Roman else : so tell them, Publius. 
Gas. And leave us, Publius ; lest that the people. 

Rushing on us, should do your age some mis- 
chief. 
Bru. Do so : and let no man abide this deed. 

But we the doers. 

Re-enter Trehonius. 
Gas. Where is Antony? 95 

Treh. Fled to his house amaz'd: 

Men, wives and children stare, cry out and 
run 

As it were doomsday. 
Bru. Fates, we will know your pleasures: 

That we shall die, we know; 't is but the 
time 

And drawing days out, that men stand upon. 100 
Gas. Why, he that cuts off twenty years of life 



Act III. Sc. i.] JULIUS CAESAR. 99 

Outs off so many years of fearing death. 
Bru. Grant that, and then is death a benefit : 
So are we Caesar's friends, that have abridged 
105 His time of fearing death. Stoop, Romans, 

stoop. 
And let us bathe our hands in Caesar's blood 
Up to the elbows, and besmear our swords : 
Then walk we forth, even to the market- 
place. 
And, waving our red weapons o'er our heads, 
110 Let's all cry "Peace, freedom and liberty!" 

Gas. Stoop, then, and wash. How many ages 
hence 
Shall this our lofty scene be acted over 
In states unborn and accents yet unknown ! 
Bru. How many times shall Caesar bleed in 
sport, 
115 That now on Pompey's basis lies along 

•^ No worthier than the dust ! 

Gas, So oft as that shall be, 

So often shall the knot of us be call'd 
The men that gave their country liberty. 
Dec. What, shall we forth? 
Gas. Ay, every man away: 

130 Brutus shall lead ; and we will grace his heels 

With the most boldest and best hearts of 

Rome. 

Enter a Servant. 

Bru. Soft! who comes here? A friend of An- 
tony's. L.ofC. 



100 JULIUS CAESAR. [Act III. Sc. i. 

Serv. Thus, Brutus, did my master bid me kneel ; 
Thus did Mark Antony bid me fall down ; 
And, being prostrate, thus he bade me say : 125 
Brutus is noble, wise, valiant, and honest ; 
Caesar was mighty, bold, royal, and loving ; 
Say I love Brutus, and I honour him ; 
Say I fear'd Caesar, honour'd him, and lov'd 

him. 
If Brutus will vouchsafe that Antony i30 

May safely come to him, and be resolv'd 
How Caesar hath deserv'd to lie in death, 
Mark Antony shall not love Caesar dead 
So well as Brutus living; but will follow 
The fortunes and affairs of noble Brutus 135 

Thorough the hazards of this untrod state 
With all true faith. So says my master 
Antony. 

Bru, Thy master is a wise and valiant Eoman ; 
I never thought him worse. 
Tell him, so please him come unto this place, i40 
He shall be satisfied ; and, by my honour. 
Depart untouch 'd. 

Serv. I'll fetch him presently. YExit 

Bru. I know that we shall have him well to 
friend. 

Cas. I wish we may : but yet have I a mind 

That fears him much ; and my misgiving still 145 
Falls shrewdly to the purpose. 

Bru. But here comes Antony. 

Re-enter Antony. 



Act III. Sc. i.] JULIUS CAESAR. 101 

Welcome, Mark Antony. 
Ant. mighty Caesar ! dost thou lie so low? 
Are all thy conquests, glories, triumphs, 
spoils, 
150 Shrunk to this little measure? Fare thee 

well. 
I know not, gentlemen, what you intend. 
Who else must be let blood, who else is rank : 
If I myself, there is no hour so fit 
As Caesar's death hour, nor no instrument 
155 Of half that worth as those your swords, 

made rich 
With the most noble blood of all this world. 
I do beseech ye, if you bear me hard, 
Now, whilst your purpled hands do reek and 

smoke, 
Eulfil your pleasure. Live a thousand years, 
160 I shall not find myself so apt to die : 

No place will please me so, no mean of death, 
As here by Caesar, and by you cut ofi. 
The choice and master spirits of this age, 
Bric. Antony, beg not your death of us. 
165 Though now we must appear bloody and cruel, 

As, by our hands and this our present act. 
You see we do, yet see you but our hands 
And this the bleeding business they have 

done: 
Our hearts you see not; they are pitiful; 
170 And pity to the general wrong of Kome — 

As fire drives out fire, so pity pity — 



102 JULIUS CAESAR. [Act III. Sc. i. 

Hath done this deed on Caesar. For your 

part, 
To yon our swords have leaden points, Mark 

Antony : 
Our arms, in strength of malice, and our 

hearts 
Of brothers' temper, do receive you in 175 

"With all kind love, good thoughts, and 

reverence. 
Cas. Your voice shall he as strong as any man's 

In the disposing of new dignities. 
Bru. Only he patient till we have appeas'd 

The multitude, beside themselves with fear, iso 
And then we will deliver you the cause, 
Why I, that did love Caesar when I struck 

him. 
Have thus proceeded. 
Ant. I doubt not of your wisdom. 

Let each man render me his bloody hand : 
First, Marcus Brutus, will IJshake with you ; 185 
Next, Caius Cassius, do I take your hand ; 
Now, Decius Brutus, yours; now yours, 

Metellus ; 
Yours, Cinna ; and, my valiant Oasca, yours ; 
Though last, not least in love, yours, good 

Trebonius. 
Gentlemen all, — alas, what shall I say? i9o 

My credit now stands on such slippery 

ground, 
That one of two bad ways you must conceit me. 



Act III. Sc. i.] JULIUS CAESAR. 103 

Either a coward or a flatterer. 
That I did love thee, Caesar, 0, 'tis true: 
195 If then thy spirit look upon us now. 

Shall it not grieve thee dearer than thy death, 
To see thy Antony making his peace. 
Shaking the bloody fingers of thy foes, 
Most noble ! in the presence of thy corse? 
200 Had I as many eyes as thou hast wounds, 

Weeping as fast as they stream forth thy 

blood, 
It would become me better than to close 
In terms of friendship with thine enemies. 
Pardon me, Julius! Here wast thou bay 'd, 
brave hart; 
205 Here didst thou fall ; and here thy hunters 

stand, 
Sign'd in thy spoil, and crimson'd in thy 

lethe. 
world, thou wast the forest to this hart; 
And this, indeed, world, the heart of thee. 
How like a deer, strucken by many princes, 
210 Dost thou here lie ! 

Cas, Mark Antony, — 

Ant. Pardon me, Caius Cassius : 

The enemies of Caesar shall say this; 
Then, in a friend, it is cold modesty. 
Cas. I blame you not for praising Caesar so ; 
215 But what compact mean you to have with us? 

Will you be prick'd in number of our friends; 
Or shall we on, and not depend on you? 



104 JULIUS CAESAR. [Act III. Sc. i. 

Ant, Therefore I took your hands, but was, 
indeed, 
Sway'd from the point, by looking down on 

Caesar. 
Friends am I with you all and love you all, 220 
Upon this hope, that you shall give me 

reasons 
Why and wherein Caesar was dangerous. 

Bru. Or else were this a savage spectacle : 
Our reasons are so full of good regard 
That were you, Antony, the son of Caesar, 225 
You should be satisfied. 

Ant. That's all I seek: 

And am moreover suitor that I may 
Produce his body to the market-place ; 
And in the pulpit, as becomes a friend, 
Speak in the order of his funeral. 230 

Bru. You shall, Mark Antony. 

Cas. Brutus, a word with you. 

[Aside to Bru. 'I You know not what you do: 

do not consent 
That Antony speak in his funeral : 
Know you how much the people may be mov'd 
By that which he will utter? 

Bru. By your pardon : 235 

I will myself into the pulpit first. 
And show the reason of our Caesar's death : 
What Antony shall speak, I will protest 
He speaks by leave and by permission, 
And that we are contented Caesar shall 340 



Act III. Sc. i.] JULIUS CAESAR. 105 

Have all true rites and lawful ceremonies. 
It shall advantage more than do us wrong. 
Cas. I know not what may fall ; I like it not. 
Bru. Mark Antony, here, take you Caesar's body. 
345 You shall not in your funeral speech blame 
us, 
But speak all good you can devise of Caesar, 
And say you do't by our permission; 
Else shall you not have any hand at all 
About his funeral : and you shall speak 
350 In the same pulpit whereto I am going. 
After my speech is ended. 
Ant. Be it so; 

I do desire no more. 
Bru. Prepare the body then, and follow us. 

[Exeunt all but Antony. 
Ant. 0, pardon me, thou bleeding piece of earth, 
255 That I am meek and gentle with these 
butchers ! 
Thou art the ruins of the noblest man 
That ever lived in the tide of times. 
"Woe to the hand that shed this costly blood ! 
Over thy wounds now do I prophesy, — 
360 Which, like dumb mouths, do ope their ruby 
lips. 
To beg the voice and utterance of my 

tongue — 
A curse shall light upon the limbs of men ; 
Domestic fury and fierce civil strife 
Shall cumber all the parts of Italy ; 



106 JULIUS CAESAR. [Act III. Sc. i. 

Blood and destruction shall be so in use 266 

And dreadful objects so familiar 

That mothers shall but smile when they 

behold 
Their infants quarter'd with the hands of 

war; 

All pity chok'd with*custom of fell deeds : 
And Caesar's spirit, ranging for revenge, 27o 
"With Ate by his side come hot from hell. 
Shall in these confines with a monarch's voice 
Cry "Havoc," and let slip the dogs of war; 
That this foul deed shall smell above the 

earth 
"With carrion men, groaning for burial. 275 

Enter a Servant, 
You serve Octavius Caesar, do you not? 

8erv. I do, Mark Antony. 

A7it. Caesar did write for him to come to Kome. 

Serv. He did receive his letters, and is coming ; 

And bid me say to you by word of mouth — 280 
Caesar! — [Seeing the hody. 

Ant, Thy heart is big, get thee apart and weep. 
Passion, I see, is catching; for mine eyes. 
Seeing those beads of sorrow stand in thine. 
Began to water. Is thy master coming? gss 

Serv, He lies to-night within seven leagues of 
Eome. 

Ant, Post back with speed and tell him what hath 
chanc'd: 
Here is a mourning Kome, a dangerous Rome, 



Act III. Sc. ii.] JULIUS CAESAR. 107 

No Rome of safety for Octavius yet ; 
290 Hie hence, and tell him so. Yet, stay awhile ; 

Thou shalt not back till I have borne this 
corse 

Into the market-place : there shall I try. 

In my oration, how the people take 

The cruel issue of these bloody men ; 
295 According to the which, thou shalt discourse 

To young Octavius of the state of things. 

Lend me your hand. 

[Exeunt with Oaesar''s body. 

Scene II. 

The Forum, 
Enter Brutus and Cassius, and a throng of 
Citizens. 
Citizens. We will be satisfied; let~us be satisfied. 
Bru. Then follow me, and give me audience, 
friends. 
Cassius, go you into the other street, 
And part the numbers. 
5 Those that will hear me speak, let 'em stay 

here; 
Those that will follow Cassius, go with him ; 
And public reasons shall be rendered 
Of Caesar's death. 
First at. I will hear Brutus speak. 
10 Sec. at. I will hear Cassius ; and compare their 
reasons. 



108 JULIUS CAESAR. [Act III. So. ii. 

When severally we hear them rendered. 
\^Exit Cassius, with some of the Citizens, 
Brutus goes into the pulpit. 

Third Cit. The noble Brutus is ascended : silence I 

Bru. Be patient till the last. 

Romans, countrymen, and lovers! hear me 
for my cause, and be silent, that you may is 
hear : believe me for mine honour, and have 
respect to mine honour, that you may be- 
lieve : censure me in your wisdom, and awake 
your senses, that you may the better judge. 
If there be any in this assembly, any dear 20 
friend of Caesar's, to him I say, that Brutus' 
love to Caesar was no less than his. If then 
that friend demand why Brutus rose against 
Caesar, this is my answer r—ISTot that I lov'd 
Caesar less, but that I lov'd Eome more^; 25 
Had you rather Caesar were living and die 
all slaves, than that Caesar were dead, to 
live all free men? As Caesar lov'd me, I 
weep for him ; as he was fortunate, I rejoice 
at it ; as he was valiant, I honour him : but, 30 
as he was ambitious, I slew him. There is 
tears for his love; joy for his fortune; hon- 
our for his valour; and death for his ambi- 
tion. Who is here so base that would be a 
bondman? If any, speak; for him have I 35 
offended. Who is here so rude that would 
not be a Roman? If any, speak; for him 
have I oSended. Who is here so vile that 



Act hi. Sc. ii.] JULIUS CAESAR. 109 

will not love his country? If any, speak ; for 
40 him have I offended. I pause for a reply. 

All. None, Brutus, none. 

Bru. Then none have I offended. I have done 
no more to Caesar than you shall do to 
Brutus. The question of his death is en- 
45 roll'd in the Capitol; his glory not exten- 

uated, wherein he was worthy, nor his 
offences enforced, for which he suffered 
death. 

Enter Antony and others^ with Caesar'' s tody. 
Here comes his body, mourn'd by Mark An- 
50 tony : who, though he had no hand in his 

death, shall receive the benefit of his dying, 
a place in the commonwealth ; as which of 
you shall not? With this I depart, — that, 
as I slew my best lover for the good of Eome, 
55 I have the same dagger for myself, when it 

shall please my country to need my death. 
All. Live, Brutus! live, live! 
First Git. Bring him with triumph home unto his 

house. 
Sec. Git. Give him a statue with his ancestors. 
60 Third Git. Let him be Caesar. 

Fourth Git. Caesar's better parts 

Shall be crown'd in Brutus. 
First Git, We'll bring him to his house 

With shouts and clamours. 
Bru. My countrymen, — 

8ec. Git. Peace, silence! Brutus speaks. 



110 JULIUS CAESAR. [Act III. Sc. ii. 

First at. Peace, ho! 

Bru. Good countrymen, let me depart alone, 

And, for my sake, stay here with Antony: 65 

Do grace to Caesar's corpse, and grace his 
speech 

Tending to Caesar's glories; which Mark 
Antony, 

By our permission, is allow'd to make. 

I do entreat you, not a man depart 

Save I alone, till Antony have spoke. [Exit, to 
First at. Stay, ho ! and let us hear Mark Antony. 
Third at. Let him go up into the public chair ; 

We'll hear him. Noble Antony, go up. 
Ant. For Brutus' sake, I am beholding to you. 

[Goes into the pulpit. 
Fourth at. What does he say of Brutus? 
Third at. He says, for Brutus' sake, 75 

He finds himself beholding to us all. 
Fourth at. 'T were best he speak no harm of 

Brutus here. 
First at. This Caesar was a tyrant. 
Third at. Nay, that's certain: 

We are blest that Eome is rid of him. 
Sec. at. Peace ! let us hear what Antony can say. 80 
Ant, You gentle Komans, — 
Citizens. Peace, ho ! let us hear him. 

Ant. Friends, Romans, countrymen, lend me 
v' your ears ; 

I come to bury Caesar, not to praise him. 

The evil that men do lives after them; 



Act III. Sc. ii] JULIUS CAESAR. Ill 

85 The good is oft interred with their bones ; 

So let it be with Caesar. The noble Brutus 

Hath told you Caesar was ambitious : 

If it were so, it was a grievous fault, 

And grievously hath Caesar answer'd it. 
90 Here, under leave of Brutus and the rest — 

For Brutus is an honourable man; 

So are they all, all honourable men — 

Come I to speak in Caesar's funeral. 

He was my friend, faithful and just to me : 
95 But Brutus says he was ambitious ; 

And Brutus is an honourable man. 

He hath brought many captives home to 
Kome, 

Whose ransoms did the general coffers fill ; 

Did this in Caesar seem ambitious? 
100 When that the poor have cried, Caesar hath 

wept: 

Ambition should be made of sterner stuff : 

Yet Brutus says he was ambitious ; 

And Brutus is an honourable man. 

You all did see that on the Lupercal 
105 I thrice presented him a kingly crown. 

Which he did thrice refuse : was this ambition? 

Yet Brutus says he was ambitious ; 

And, sure, he is an honourable man. 

I speak not to disprove what Brutus spoke, 
no But here I am to speak what I do know. 

You all did love him once, not without 
cause • 



112 JULIUS CAESAR. [Act III. Sc. ii. 

What cause withholds you then, to mourn for 
him? 

judgement ! thou art fled to brutish beasts, 
And men have lost their reason. Bear with 

me; 
My heart is in the coffin there with Caesar, lis 
^ And I must pause till it come back to me. 
First at. Methinks there is much reason in his 

sayings. 
8ec. at. If thou consider rightly of the matter, 

Caesar has had great wrong. 
Tliird at. Has he, masters? 

1 fear there will a worse come in his place. lao 
Fourth Git. Mark'd ye his words? He would not 

take the crown ; 
Therefore 't is certain he was not ambitious. 
First at. If it be found so, some will dear abide it. 
8ec. at. Poor soul ! his eyes are red as fire with 

weeping. 
Third Cit. There's not a nobler man in Rome 

than Antony. 125 

Fourth at. Now mark him, he begins again to 

speak. 
Ant. But yesterday the word of Caesar might 
Have stood against the world; now lies he 

there, 
And none so poor to do him reverence. 

masters, if I were dispos'd to stir iso 
Your hearts and minds to mutiny and rage, 

1 should do Brutus wrong, and Cassius wrong, 



Act ni. Sc. ii.] JULIUS CAESAR. 113 

Who, you all know, are honourable men : 
I will not do them wrong ; I rather choose 
185 To wrong the dead, to wrong myself and you, 

Than I will wrong such honourable men. 
But here's a parchment with the seal of Cae- 
sar; 
I found it in his closet, 't is his will : 
Let but the commons hear this testament — 
140 Which, pardon me, I do not mean to read — 

And they would go and kiss dead Caesar's 

wounds 
And dip their napkins in his sacred blood, 
Yea, beg a hair of him for memory. 
And, dying, mention it within their wills, 
145 Bequeathing it as a rich legacy 

V Unto their issue. 
Fourth at. We'll hear the will: read it, Mark 

Antony. 

All. The will, the will ! we will hear Caesar's will. 

Ant. Have patience, gentle friends, I must not 

read it; 

150 It is not meet you know how Caesar lov'd you. 

You are not wood, you are not stones, but 

men; 
And, being men, hearing the will of Caesar, 
It will inflame you, it will make you mad : 
'T is good you know not that you are his heirs ; 
155 For, if you should, 0, what would come of it! 

Fourth at. Eead the will; we'll hear it, Antony; 
You shall read us the will, Caesar's will. 



114 JULIUS CAESAR. [Act III. Sc. ii. 

Ant. Will you be patient? will you stay awhile? 
I have o'er shot myself to tell you of it: 
I fear I wrong the honourable men leo 

Whose daggers have stabb'd Caesar ; I do fear 
it. 

Fourth Git. They were traitors : honourable men ! 

All. The will! the testament ! 

Sec. at. They were villains, murderers ; the will! 
read the will. les 

Ant. You will compel me, then, to read the will? 
Then make a ring about the corpse of Caesar, 
And let me show you him that made the will. 
Shall I descend? and will you give me leave? 

Several Git. Come down. vm 

Sec. Git. Descend. 

Third Git. You shall have leave. 

[Antony comes down from the pulpit. 

Fourth Git. A ring; stand round. 

First Git. Stand from the hearse, stand from the 
body. 

Sec. Git. Eoom for Antony, most noble Antony. 175 

Ant. Nay, press not so upon me; stand far off. 

Several Git. Stand back ; room ; bear back ! 

Ant. If you have tears, prepare to shed them now. 
You all do know this mantle : I remember 
The first time ever Caesar put it on ; 180 

'T was on a summer's evening, in his tent, 
That day he overcame the Nervii : 
Look, in this place ran Cassius' dagger 
through : 



Act III. Sc. ii.] JULIUS CAESAR 115 

See what a rent the envious Casca made : 
185 Through this the well-beloved Brutus stabb'd ; 

And as he pluck'd his cursed steel away, 
Mark how the blood of Caesar foUow'd it, 
As rushing out of doors, to be resolved 
If Brutus so unkindly knock'd, or no ; 
190 For Brutus, as you know, was Caesar's angel: 

Judge, you gods, how dearly Caesar lov'd 

him! 
This was the most unkindest cut of all ; 
For when the noble Caesar saw him stab, 
Ingratitude, more strong that traitors' arms, 
195 Quite vanquish 'd him: then burst his mighty 

heart ; 
And, in his mantle muffling up his face, 
Even at the base of Pompey's statue. 
Which all the while ran blood, great Caesar 

fell. 
0, what a fall was there, my countrymen! 
200 Then I, and you, and all of us fell down, 

Whilst bloody treason flourish 'd over us. 
0, now you weep; and, I perceive, you feel 
The dint of pity : these are gracious drops. 
Kind souls, what, weep you when you but 
behold 
205 Our Caesar's vesture wounded? Look you 

here, {^Lifting Caesar'' s mantle, 

\ Here is himself, marr'd, as you see, with 
traitors. 
First at, piteous spectacle! 



116 JULIUS CAESAR. [Act III. Sc. ii. 

Sec, at, noble Caesar! > 

Third Cit. woful day! 

Fourth Git. traitors, villains! 210 

First Git. most bloody sight! 

8ec. Git. We will be reveng'd. 

All. Kevenge! About! Seek! Bum! Eire! Kill! 
Slay! 
Let not a traitor live ! 

Ant. Stay, countrymen. 

First Git. Peace there ! hear the noble Antony. 215 

Sec. Git. We'll hear him, we'll follow him, we'll 
die with him. 

Ant. Good friends, sweet friends, let me not stir 
you up 
To such a sudden flood of mutiny. 
They that have done this deed are honourable : 220 
What private griefs they have, alas, I know not, 
That made them do it: they are wise and 

honourable, 
And will, no doubt, with reasons answer you. 
I come not, friends, to steal away your hearts : 
I am no orator, as Brutus is ; 225 

But, as you know me all, a plain blunt man. 
That love my friend; and that they know 

full well 
That gave me public leave to speak of him : 
For I have neither wit, nor words, nor 

worth, 
Action, nor utterance, nor the power of 230 
speech, 



Act III. So. ii.] JULIUS CAESAR. 117 

To stir men's blood: I only speak right on; 
I tell you that which you yourselres do 

know ; 
Show you sweet Caesar's wounds, poor, poor, 

dumb mouths, 
And bid them speak for me: but were I 
Brutus, 
235 And Brutus" Antony, there were an Antony 

Would ruffle up your spirits and put a tongue 
In every wound of Caesar that should move 
^ The stones of Kome to rise and mutiny. 
All. We'll mutiny. 
240 First Git. We'll burn the house of Brutus. 

Third Cit. Away, then! come, seek the conspir- 
ators. 
Ant. Yet hear me, countrymen; yet hear me 

speak. 
All. Peace, ho! Hear Antony. Most noble 

Antony ! 
Ant. Why, friends, you go to do you know not 
what : 
245 Wherein hath Caesar thus deserv'd your 

loves? 
Alas, you know not : I must tell you, then : 
You have forgot the will I told you of. 
All, Most true. The will! Let's stay and hear 

the will. 
Ant. Here is the will, and under Caesar's seal. 
350 To every Roman citizen he gives. 

To every several man, seventy-five drachmas. 



\y 



118 JULIUS CAESAR. [Act III. Sc. ii. 

Sec. at. Most noble Caesar! We'll revenge his 
death. 

Third Cit. royal Caesar! 

Ant. Hear me with patience. 

All. Peace, ho! 355 

Ant. Moreover, he hath left you all his walks, 
His private arbours and new-planted orchards. 
On this side Tiber; he hath left them you, 
And to your heirs forever, common pleasures. 
To walk abroad, and recreate yourselves. 260 

Here was a Caesar ! when comes such another? ; 

First Cit. Never, never. Come, away, away ! 
We'll burn his body in the holy place, 
And with the brands fire the traitors' houses. 
Take up the body. 265 

Sec. Cit. Go fetch fire. 

Third Cit. Pluck down benches. 

Fourth Cit. Pluck down forms, windows, any 
thing. [Exeunt Citizens with the lody. 

Ant. Now let it work. Mischief, thou art afoot, 

Take thou what course thou wilt ! ^ 

Enter a servant. 

How now, fellow ! sto 

Serv. Sir, Octavius'is already come to Eome. 

Ant. Where is he? 

Serv. He and Lepidus are at Caesar's house. 

Ant. And thither will I straight to visit him : 

He comes upon a wish. Fortune is merry, 275 
And in this mood will give us any thing. 

Serv. I heard him say, Brutus and Cassius 



Act hi. Sc. iii.] JULIUS CAESAR. 119 

Are rid like madmen through the gates of 
Eome. 
Ant. Belike they had some notice of the people, 
280 How I had mov'd them. Bring me to Oc- 

tavius. \^Exeunt. 



Scene III. 

A street. 

Enter Cinna the poet. 

Gin. I dreamt to-night that I did feast with 
Caesar, 
And things unluckily charge my fantasy : 
I have no will to wander forth of doors, 
Yet something leads me forth. 

Enter Citizens. 

5 First Git. What is your name? 

Sec. Git. Whither are you going? 

Third Git. Where do you dwell? 

Fourth Git. Are you a married man or a bach- 
elor? 

Sec. Git. Answer every man directly. 
10 First Git. Ay, and briefly. 

Fourth Git. Ay, and wisely. 

Third Git. Aj, and truly, you were best. 

Gin. What is my name? Whither am I going? 

Where do I dwell? Am I a married man or a 

15 bachelor? Then, to answer every man 



120 JULIUS CAESAR. [Ac?r III. Sc. iii. 

directly and briefly, wisely and truly : wisely 

I say, I am a bachelor. 
Sec. at. That's as much as to say, they are fools 

that marry: you'll bear me a bang for that, 

I fear. Proceed ; directly. 20 

Cin. Directly, I am going to Caesar's funeral. 
First at. As a friend or an enemy? 
an. As a friend. 

8ec. at. That matter is answered directly. 
Fourth at. For your dwelling, — briefly. 25 

an. Briefly, I dwell by the Capitol. 
Third at. Your name, sir, truly. 
an. Truly, my name is Cinna. 
First at. Tear him to pieces; he's a conspirator. 
an. I am Cinna the poet, I am Cinna the poet. 30 
Fourth at. Tear him for his bad verses, tear him 

for his bad verses. 
an. I am not Cinna the conspirator. 
Fourth at. It is no matter, his name's Cinna; 

pluck but his name out of his heart, and turn 35 

him going. 
Third at. Tear him, tear him! Come, brands, 

ho! fire-brands: to Brutus', to Cassius'; 

burn all: some to Decius' house, and some 

to Casca's; some to Ligarius': away, go! 40 

[Exeunt. 



ACT FOURTH. 

Scene I. 

A house in Rome. 

Antony^ OctaviuSy and Lepidus^ seated at a table. 

Ant. These many, then, shall die; their names 

are prick 'd. 
Oct. Your brother too must die; consent you, 

Lepidus? 
Lep. I do consent, — 

Oct. Prick him down, Antony. 

Lep. Upon condition Publius shall not liye, 
5 Who is your sister's son, Mark Antony. 

Ant. He shall not live ; look, with a spot I damn 
him. 
But, Lepidus, go you to Caesar's house; 
Fetch the will hither, and we shall determine 
How to cut off some charge in legacies. 
10 Lep. What, shall I find you here? 
Oct. Or here, or at the Capitol. 

[Exit Lepidus, 
Ant. This is a slight unmeritable man. 
Meet to be sent on errands : is it fit. 
The three-fold world divided, he should stand 
15 One of the three to share it? 

Oct. So you thought him; 

121 



122 JULIUS CAESAR. [Act IV. Sc. i. 

And took his voice who should be prick 'd to 

die, 
In our black sentence and proscription. 
Ant. Octavius, I have seen more days than you: 
And though we lay these honours on this 

man, 
To ease ourselves of divers sland'rous loads, 20 
He shall but bear them as the ass bears gold, 
To groan and sweat under the business, 
Either led or driven, as we point the way; 
And having brought our treasure where we 

will. 
Then take we down his load, and turn him 25 

off. 
Like to the empty ass, to shake his ears, 
And graze in commons. 
Oct. You may do your will ; 

But he's a tried and valiant soldier. 
Ant. So is my horse, Octavius ; and for that 

I do appoint him store of provender : 30 

It is a creature that I teach to fight. 

To wind, to stop, to run directly on. 

His corporal motion govern 'd by my spirit. 

And, in some taste, is Lepidus but so ; 

He must be taught and train'd and bid go 85 

forth ; 
A barren-spirited fellow ; one that feeds 
On abjects, orts and imitations, 
Which, out of use and staled by other men, 
Begin his fashion : do not talk of him, 



Act IV. Sc. ii.] JULIUS CAESAR. 123 

40 But as a property. And now, Octavius, 

Listen great things : — Brutus and Oassius 
Are levying powers : we must straight make 

head: 
Therefore let our alliance be combin'd, 
Our best friends made, our means stretch'd; 
45 And let us presently go sit in council, 

How covert matters may be best disclosed, 
And open perils surest answered. 
Oct. Let us do so : for we are at the stake, 
And bay'd about with many enemies; 
50 And some that smile have in their hearts, I 

fear, 
Millions of mischiefs. {^Exeunt. 

Scene II. 

Camp near Sardis. Before Brutus'' s tent. 

Drum. Enter Brutus, Lucilius, Lucius, and 
Soldiers J Titinius and Pindarus meeting 
them,. 

Bru. Stand, ho! 

Lucil. Give the word, ho ! and stand. 
Bru. What now, Lucilius! is Cassius near? 
Lucil. He is at hand; and Pindarus is come 
5 To do you salutation from his master. 

Bru. He greets me well. Your master, Pin- 
darus, 
In his own change, or by ill officers, 



124 JULIUS CAESAR. [Act IV. Sc. ii. 

Hath given me some worthy cause to wish 

Things done, undone : but, if he be at hand, 

I shall be satisfied. 
Pin. I do not doubt lo 

But that my noble master will appear 

Such as he is, full of regard and honour. 
Bru. He is not doubted. A word, Lucilius, 

How he received you : let me be resolved. 
Lucil. With courtesy and with respect enough ; is 

But not with such familiar instances, 

Nor with such free and friendly conference. 

As he hath used of old. 
Bru, Thou hast described 

A hot friend cooling : ever note, Lucilius, 

"When love begins to sicken and decay, so 

It useth an enforced ceremony. 

There are no tricks in plain and simple faith ; 

But hollow men, like horses hot at hand, 

Make gallant show and promise of their 
mettle : 

But when they should endure the bloody spur, 25 

They fall their crests, and, like deceitful 
jades. 

Sink in the trial. Comes his army on? 
LuciL They mean this night in Sardis to be 
quarter 'd; 

The greater part, the horse in general. 

Are come with Cassius. 
Bru. Hark ! he is arriv'd. so 

[Low march within* 



Act IV. Sc. ii.] JULIUS CAESAR. 125 

March gently on to meet him. 

Enter Cassius and his powers. 
Cas. Stand, ho! 

Bru. Stand, ho ! Speak the word along. 
First Sol Stand! 
85 Sec. Sol. Stand! 
Third Sol Stand! 

Cas. Most noble brother, you have done me wrong. 
Bru. Judge me, you gods ! wrong I mine enemies? 
And, if not so, how should I wrong a brother? 
40 Cas. Brutus, this sober form of yours hides 
wrongs ; 
And when you do them — 
Bru. Cassius, be content; 

Speak your griefs softly : I do know you well. 
Before the eyes of both our armies here, 
Which should perceive nothing but love from 
us, 
45 Let us not wrangle : bid them move away ; 

Then in my tent, Cassius, enlarge your griefs. 
And I will give you audience. 
Cas. Pindarus, 

Bid our commanders lead their charges off 
A little from this ground. 
50 Bru. Lucilius, do you the like ; and let no man 
Come to our tent till we have done our con- 
ference. 
Let Lucius and Titinius guard our door. 

\_Bxeunt, 



126 JULIUS CAESAR. [Act IV. Sc. iii. 

Scene III. 
Brutus^ s tent. 

Enter Brutus and Gassius. 

Cas. That you have wrong'd me doth appear in 
this: 
You have condemn' d and noted Lucius Pella 
For taking bribes here of the Sardians ; 
Wherein my letters, praying on his side 
Because I knew the man, were slighted off. 5 
Bru. You wrong'd yourself to write in such a 

case. 
Cas. In such a time as this it is not meet 

That every nice offence should bear his com- 
ment. 
Bru. Let me tell you, Cassius, you yourself 

Are much condemn 'd to have an itching lo 

palm ; 
To sell and mart your offices for gold 
To undeservers. 
Cas. I an itching palm ! 

You know that you are Brutus that speaks 

this, 
Or, by the gods, this speech were else your 
last. 
Bru. The name of Cassius honours this corrup- 15 
tion. 
And chastisement doth therefore hide his 
head. 



Act IV. Sc. iii.] JULIUS CAESAR. 127 

Cas. Chastisement! 

Bru. Eemember March, the ides of March re- 
member : 
Did not great Julius bleed for justice' sake? 
20 What villain touch 'd his body, that did stab, 

And not for justice? What, shall one of us. 
That struck the foremost man of all this world 
But for supporting robbers, shall we now 
Contaminate our fingers with base bribes, 
25 And sell the mighty space of our large 

honours 
For so much trash as may be grasped thus? 
I had rather be a dog, and bay the moon. 
Than such a Roman. 
Cas. Brutus, bait not me; 

I'll not endure it : you forget yourself, 
80 To hedge me in ; I am a soldier, I, 

Older in practice, abler than yourself 
To make conditions. 
Bru. Go to ; you are not, Cassius. 

Cas. I am. 

Bru. I say you are not. 
35 Cas. Urge me no more, I shall forget myself ; 

Have mind upon your health, tempt me no 
farther. 
Bru. Away, slight man ! 
Cas. Is 't possible? 

Bru. Hear me, for I will speak. 

Must I give way and room to your rash 
choler? 



128 JULIUS CAESAR. [Acjt IV. Sc. iii. 

Shall I be frighted when a madman stares? 40 
Cas. ye gods, ye gods ! must I endure all this? 
Bru. All this! ay, more: fret till your proud 
heart break ; 
Go show your slaves how choleric you are, 
And make your bondmen tremble. Must I 

budge? 
Must I observe you? must I stand and crouch 45 
Under your testy humour? By the gods, 
You shall digest the venom of your spleen, 
Though it do split you ; for, from this day 

forth, 
I'll use you for my mirth, yea, for my 

laughter. 
When you are waspish. 
Cas. Is it come to this? so 

Bru. You say you are a better soldier : 

Let it appear so ; make your vaunting true. 
And it shall please me well : for mine own 

part, 
I shall be glad to learn of noble men. 
Cas. You wrong me every way; you wrong me, 55 
Brutus ; 
I said, an elder soldier, not a better : 
Did I say ''better"? 
Bru. If you did, I care not. 

Cas. When Caesar liv'd, he durst not thus have 

mov'd me. 
Bru. Peace, peace ! you durst not so have tempted 
him. 



Act IV. Sc. iii.] JULIUS CAESAR. 129 

60 Cas. I durst not! 
Brio, No. 

Cas. What J durst not tempt him ! 
Bru, For your life you durst not. 

Cas. Do not presume too much upon my love ; 
I may do that I shall be sorry for. 
65 Bru. You have done that you should be sorry 
for. 
There is no terror, Cassius, in your threats, 
For I am arm'd so strong in honesty 
That they pass by me as the idle wind, 
Which I respect not. I did send to you 
70 For certain sums of gold, which you denied 

me: 
For I can raise no money by vile means : 
By heaven, I had rather coin my heart, 
And drop my blood for drachmas, than to 

wring 
From the hard hands of peasants their vile 
trash 
75 By any indirection : I did send 

To you for gold to pay my legions, 

Which you denied me: was that done like 

Cassius? 
Should I have answer 'd Caius Cassius so? 
When Marcus Brutus grows so covetous, 
80 To lock such rascal counters from his friends, 

Be ready, gods, with all your thunderbolts; 
Dash him to pieces ! 
Gas. I denied you not. 



130 JULIUS CAESAR. [Act IV. Sc. iii. 

Bru. You did. 

Gas. I did not : lie was but a fool that brought 

My answer back. Brutus hath riv'd my 85 

heart : 
A friend should bear his friend's infirmities, 
But Brutus makes mine greater than they are. 

Bru. I do not, till you practise them on me. 

Gas. You love me not. 

Bru. I do not like your faults. 

Gas. A friendly eye could never see such faults. 90 

Bru. A flatterer's would not, though they do 
appear 
As huge as high Olympus. 

Gas. Come, Antony, and young Octavius, come, 
Eevenge yourselves alone on Cassius, 
For Cassius is aweary of the world ; 95 

Hated by one he loves ; brav'd by his brother ; 
Check 'd like a bondman; all his faults 

observ'd. 
Set in a note-book, learn'd, and conn'd by rote, 
To cast into my teeth. 0, I could weep 
My spirit from mine eyes! There is my 100 

dagger. 
And here my naked breast ; within, a heart 
Dearer than Plutus' mine, richer than gold: 
If that thou be'st a Eoman, take it forth; 
I, that denied thee gold, will give my heart: 
Strike, as thou didst at Caesar ; for, I know, 105 
When thou didst hate him worst, thou 
loved st him better 



Act IV. Sc. iii.] JULIUS CAESAR. 131 

Than ever thou lovedst Oassius. 
Bru, Sheathe your dagger : 

Be angry when you will, it shall have scope; 
Do what you wili-j dishonour shall be humour. 
110 Cassius, you are yoked with a lamb 

That carries anger as the flint bears fire ; 
Who, much enforced, shows a hasty spark, 
And straight is cold again. 
Cas. Hath Oassius liv'd 

To be but mirth and laughter to his Brutus, 
115 When grief and blood ill-temper'd vexeth 

him? 
Brit. When I spoke that, I was ill-temper'd too. 
Cas. Do you confess so much? Give me your 

hand. 
Bru. And my heart too. 
Cas. Brutus! 

Bru. What's the matter? 

Cas. Have not you love enough to bear with me, 
120 When that rash humour which my mother 

gave me 
Makes me forgetful? 
Bru. Yes, Oassius ; and, from henceforth, 

When you are over-earnest with your Brutus, 
He'll think your mother .chides, and leave 
you so. 
Poet. [^Within.'] Let me go in to see the generals; 
135 There is some grudge between 'em, 't is not 

meet 
They be alone. 



132 JULIUS CAESAR. [Act IV. Sc. iii. 

Lucil. [Within,] You shall not come to them. 
Foet, [Within.'] Nothing but death shall stay me. 

Enter Poet, followed hy Lucilius, Titinius, and 

Lucius. 
Gas. How now ! what's the matter? 
Poet. For shame, you generals! what do you i30 
mean? 
Love, and be friends, as two such men should 

be; 
For I have seen more years, I'm sure, than ye. 
Cas. Ha, ha ! how vilely doth this cynic rhyme ! 
Bru. Get you hence, sirrah ; saucy fellow, hence ! 
Cas. Bear with him, Brutus ; 'tis his fashion. i35 
Bru. I'll know his humour, when he knows his 
time: 
What should the wars do with these jigging 

fools? 
Companion, hence! 
Cas. Away, away, be gone! 

[Exit Poet. 
Bru. Lucilius and Titinius, bid the commanders 

Prepare to lodge their companies to-night. 140 
Gas. And come yourselves, and bring Messala 
with you 
Immediately to us. 

[Exeunt Lucilius and Titinius. 
Bru. Lucius, a bowl of wine ! 

[Exit Lucius. 
Cas. I did not think you could have been so 
angry. 



Act IV. Sc. iii.] JULIUS CAESAR. 133 

Bru. Cassius, I am sick of many griefs. 
145 Cas. Of your philosophy you make no use, 
If you give place to accidental evils. 
Bru. No man bears sorrow better. Portia is 

dead. 
Cas. Ha! Portia! 
Bru. She is dead. 
150 Cas. How 'scaped I killing when I cross'd you so? 
insupportable and touching loss ! 

Upon what sickness? 
Bru. Impatient of my absence, 

And grief that young Octavius vdth Mark 

Antony 
Have made themselves so strong : — ^f or with 
her death 
155 That tidings came; — with this she fell dis- 

tract, 
And, her attendants absent, swallow'd fire. 
Cas. And died so? 
Bru. Even so. 

Cas. ye immortal gods ! 

Re-enter Lucius^ with wine and taper. 
Bru. Speak no more of her. Give me a bowl of 
wine. 
In this I bury all unkindness, Cassius. 

\^Drin1cs. 

160 Cas. My heart is thirsty for that noble pledge. 

Fill, Lucius, till the wine o'erswell the cup; 
I cannot drink too much of Brutus' love. 

[^Drinhs, 



134 JULIUS CAESAR. [Act IV. So. iii. 

Bru. Come in, Titinius ! \^Exit Lucius. 

Re-enter Titinius^ with Messala. 
Welcome, good Messala. 

Now sit we close about this taper here, 165 

And call in question our necessities. 

Gas. Portia, art thou gone? 

Bru. No more, I pray you. 

Messala, I have here received letters. 
That young Octavius and Mark Antony 
Come down upon us with a mighty power, * 170 
Bending their expedition toward Philippi. 

Mes. Myself have letters of the self-same tenour. 

Bru. "With what addition? 

Mes. That by proscription and bills of outlawry, 

Octavius, Antony, and Lepidus, 175 

Have put to death an hundred senators. 

Bru. Therein our letters do not well agree ; 
Mine speak of seventy senators that died 
By their proscriptions, Cicero being one. 

Gas. Cicero one! ^ 

Mes. Cicero is dead, I80 

And by that order of proscription. 
Had you your letters from your wife, my 
lord? 

Bru. No, Messala. 

Mes. Nor nothing in your letters writ of her? 

Bru. Nothing, Messala. 

Mes. That, methinks, is strange. 185 

Bru. Why ask you? hear you aught of her in 
yours? 



Act IV. Sc. iii.] JULIUS CAESAR. 135 

Mes, No, my lord. 

Bru. Now, as you are a Roman, tell me true. 
Mes. Then like a Roman bear the truth I tell : 
190 For certain she is dead, and by strange 

manner. 
Bru. Why, farewell, Portia. We must die, 
Messala : 
With meditating that she must die once, 
I have the patience to endure it now. 
Mes. Even so great men great losses should 
endure. 
195 Cas. I have as much of this in art as you, 
But yet my nature could not bear it so. 
Bru. Well, to our work alive. What do you 
think 
Of marching to Philippi presently? 
Cas. I do not think it good. 
Bru. Your reason? 

Cas. This it is : 

200 'Tis better that the enemy seek us : 

So shall he waste his means, weary his soldiers, 
Doing himself offence ; whilst we, lying still. 
Are full of rest, defence, and nimbleness. 
Bru. Good reasons must, of force, give place to 
better. 
805 ■ The people 'twixt Philippi and this ground 
Do stand but in a forc'd affection; 
For they have grudg'd us contribution: 
The enemy, marching along by them. 
By them shall make a fuller number up, 



136 JULIUS CAESAR. [Act IV. Sc. iii. 

Come on refresh 'd, new-added, and en- sio 
courag'd ; 

From which advantage shall we cut him off, 

If at Philippi we do face him there, 

These people at our back. 
Gas. Hear me, good brother. 

Bru. Under your pardon. You must note beside, : 

That we have tried the utmost of our friends, 215 

Our legions are brim-full, our cause is ripe : 

The enemy increaseth every day; 

We, at the height, are ready to decline. 

There is a tide in the affairs of men. 

Which, taken at the flood, leads on to for- 220 
tune: 

Omitted, all the voyage of their life 

Is bound in shallows and in miseries. 

On such a full sea are we now afloat ; 

And we must take the current when it serves, 

Or lose our ventures. 
Cas. Then, with your will, go on; 225 

We'll along ourselves, and meet them at 
Philippi. 
Bru. The deep of night is crept upon our talk, 

And nature must obey necessity ; 

Which we will niggard with a little rest. 

There is no more to say? 
Gas. No more. Good night : 230 

Early to-morrow will we rise, and hence. 
Bru. Lucius! [Enter Lucius. '\ My gown. [Exit 
Lucius.l Farewell, good Messala: 



Act IV. Sc. iii.] JULIUS CAESAR. 137 

Good night, Titinius. Noble, noble Cassius, 
Good night, and good repose. 
Gas. my dear brother ! 

235 This was an ill beginning of the night : 

Never come such division 'tween our souls ! 
Let it not, Brutus. 
Bru, Every thing is well. 

Gas. Good night, my lord. 

Bru. Good night, good brother. 

Tit. Mes. Good night, Lord Brutus. 
Bru, Farewell, every one. 

[Exeunt all hut Brutus. 
Re-enter Lucius^ with the gown. 

240 Give me the gown. Where is thy instru- 

ment? 
Luc. Here in the tent. 

Bru. "What, thou speak'st drowsily? 

Poor knave, I blame thee not; thou art o'er- 

watched. 
Call Claudius and some other of my men ; 
I'll have them sleep on cushions in my tent. 
345 Luc. Varro and Claudius! 

Enter Varro and Glaudius. 

Var. Calls my lord? 

Bru. I pray you, sirs, lie in my tent and sleep ; 
It may be I shall raise you by and by 
On business to my brother Cassius. 
250 Var. So please you, we will stand and watch your 
pleasure. 



:i 38 JULIUS CAESAR. [Act IV. Sc. iii. 

Bru, I will not have it so : lie down, good sirs ; 

It may be I shall otherwise bethink me. 

Look, Lucius, here's the book I sought for so; 

I put it in the pocket of my gown. 
Varro and Claudius lie down. 
Luc. I was sure your lordship did not give it me. 255 
Bru. Bear with me, good boy, I am much for- 
getful. 

Canst thou hold up thy heavy eyes awhile. 

And touch thy instrument a strain or two? 
Luc. Ay, my lord, an 't please you. 
Bru. It does, my boy: 

I trouble thee too much, but thou art willing. 260 
Luc. It is my duty, sir. 
Bru. I should not urge thy duty past thy might ; 

I know young bloods look for a time of rest. 
Luc. I have slept, my lord, already. 
Bru. It was well done ; and thou shalt sleep 265 
again ; 

I will not hold thee long : if I do live, 

I will be good to thee. 

[^Music, and a song. 
This is a sleepy tune. murd'rous slumber, 
Lay'st thou thy leaden mace upon my boy. 
That plays thee music? Gentle knave, good 270 

night ; 
I will not do thee so much wrong to wake 

thee : 
If thou dost nod, thou break'st thy instru- 
ment; 



Act IV. Sc. iii.] JULIUS CAESAR. 139 

I'll take it from thee ; and, good boy, good 

night. 
Let me see, let me see ; is not the leaf turn'd 

down 
275 Where I left reading? Here it is, I think. 

Enter the Ghost of Caesar. 

How ill this taper burns! Ha! who comes 

here? 
I think it is the weakness of mine eyes 
That shapes this monstrous apparition. 
It comes upon me. Art thou any thing? 
280 Art thou some god, some angel, or some 

devil, 
That mak'st my blood cold and my hair to 

stare? 
Speak to me what thou art. 
Ghost. Thy evil spirit, Brutus. 
Bru, Why com'st thou? 

Ghost. To tell thee thou shalt see me at Philippi. 
285 Bru. Well ; then I shall see thee again? 
Ghost. Ay, at Philippi. 
Bru. Why, I will see thee at Philippi, then. 

[Exit Ghost. 
Now I have taken heart thou vanishest : 
111 spirit, I would hold more talk with thee. 
390 Boy, Lucius! Varro! Claudius! Sirs, awake! 

Claudius ! 
Luc. The strings, my lord, are false. 
Bru. He thinks he still is at his instrument. 



140 JULIUS CAESAR. [Act IV. Sc. iii. 

Lucius, awake! 
Luc, My lord? 395 

Bru. Didst thou dream, Lucius, that thou so 

criedst out? 
Luc. My lord, I do not know that I did cry. 
Bru. Yes, that thou didst: didst thou see any 

thing? 
Luc. Nothing, my lord. 
Bru. Sleep again, Lucius. Sirrah Claudius! 300 

[To Varro.] Fellow thou, awake! 
Var. My lord? 
Clau. My lord? 

Bru. Why did you so cry out, sirs, in your sleep? 
Var. Clau. Did we, my lord? 

Bru. Ay : saw you any thing? 305 

Var. No, my lord, I saw nothing. 
Clau. Nor I, my lord. 

Bru. Go and commend me to my brother Cassius ; 

Bid him set on his powers betimes before, 

And we will follow. 
Var. Clau. It shall be done, my lord. 

[Exeunt. 



ACT FIFTH. 

SCEN"E I. 

The plains of PJiilippi. 
Enter Octavius, Antony, and their Army. 

Oct, Now, Antony, our hopes are answered : 
You said the enemy would not come down, 
But keep the hills and upper regions ; 
It proves not so : their battles are at hand ; 
5 They mean to warn us at Philippi here, 

Answering before we do demand of them. 
Ant. Tut, I am in their bosoms, and I know 

Wherefore they do it : they could be content 
To visit other places ; and come down 
10 With fearful bravery, thinking by this face 

To fasten in our thoughts that they have 

courage ; 
But 'tis not so. 

Enter a messenger. 

Mess. Prepare you, generals : 

The enemy comes on in gallant show; 
Their bloody sign of battle is hung out, 
15 And something to be done immediately. 

Ant^ Octavius, lead your battle softly on, 

141 



142 JULIUS CAESAR. [Act V. Sc. i. 

Upon the left hand of the even field. 
Oct. Upon the right hand I ; keep thou the left. 
Ant. Why do yon cross me in this exigent? 
Oct. I do not cross you ; but I will do so. ao 

[March. 
Drum. Enter Brutus., Cassius, and their Army ; 

Lucilius, Titinius, Messala, a7id others. 
Bru. They stand, and would have parley. 
Cas. Stand fast, Titinius : we must out and talk. 
Oct. Mark Antony, shall we give sign of battle? 
Ant. No, Caesar, we will answer on their charge. 

Make forth ; the generals would have some 25 
words. 
Oct. Stir not until the signal. 
Bru. Words before blows : is it so, countrymen? 
Oct. Not that we love words better, as you do. 
Bru. Good words are better than bad strokes, 

Octavius. 
Ant. In your bad strokes, Brutus, you give good 3o 
words : 

Witness the hole you made in Caesar's heart, 

Crying ' ' Long live ! hail, Caesar ! ' ' 
Cas. Antony, 

The posture of your blows are yet unknown; 

But for your words, they rob the Hybla bees. 

And leave them honeyless. 
Ant. Not stingless too. 35 

Bru. 0, yes, and soundless too; 

For you have stoPn their buzzing, Antony, 

And very wisely threat before you sting. 



Act V. Sc. i.] JULIUS CAESAR. 143 

Ant, Villains, you did not so, when your vile 
daggers 
40 Hack'd one another in the sides of Caesar: 

You show'd your teeth like apes, and fawn'd 

like hounds, 
And bow'd like bondmen, kissing Caesar's 

feet ; 
Whilst damned Casca, like a cur, behind 
Struck Caesar on the neck. you flatterers ! 
45 Cas. Flatterers! Now, Brutus, thank yourself: 
This tongue had not offended so to-day. 
If Cassius might have rul'd. 
Oct. Come, come, the cause : if arguing make us 
sweat. 
The proof of it will turn to redder drops. 
50 Look ; 

I draw a sword against conspirators ; 

When think you that the sword goes up 

again? 
Never, till Caesar's three and thirty wounds 
Be well aveng'd; or till another Caesar 
55 Have added slaughter to the sword of traitors. 

Bru. Caesar, thou canst not die by traitors' 
hands. 
Unless thou bring 'st them with thee. 
Oct. So I hope ; 

I was not born to die on Brutus' sword. 
Bru. 0, if thou wert the noblest of thy strain, 
60 Young man, thou couldst not die more 

honourable. 



[44 



JULIUS CAESAR. [Act V. Sc. i. 



Gas, A peevish schoolboy, worthless of such 
honour, 
Join'd with a masker and a reveller ! 

Ant. Old Cassius still ! 

Oct. Come, Antony, away! 

Defiance, traitors, hurl we in your teeth: 
If you dare fight to-day, come to the field ; 
If not, when you have stomachs. 
[Exeunt Octavius, Antony, and their army. 

Oas. Why, now, blow wind, swell billow and 
swim bark ! 
The storm is up, and all is on the hazard. 

Bru. Ho, Lucilius ! hark, a word with you. 

Lucil. [Standing forth. '[ My lord? 

[Brutus and Lucilius converse apart. 

Cas. Messala! 

Mes. [Standing forth. ] What says my general? 

Cas. Messala, 

This is my birth-day ; as this very day 

Was Cassius born. Give me thy hand, 

Messala : 
Be thou my witness that against my will, 
As Pompey was, am I compell'd to set 
Upon one battle all our liberties. 
You know that I held Epicurus strong 
And his opinion : now I change my mind, 
And partly credit things that do presage. 
Coming from Sardis, on our former ensign 
Two mighty eagles fell, and there they 
perch 'd. 



70 



75 



Act V. Sc. i.J JULIUS CAESAR. 145 

Gorging and feeding from our soldiers' hands ; 
Who to Philippi here consorted us : 
This morning are they fled away and gone ; 
85 And in their steads do ravens, crows and 

kites, 
Fly o'er our heads and downward look on us, 
As we were sickly prey : their shadows seem 
A canopy most fatal, under which 
Our army lies, ready to give up the ghost. 
90 Mes. Believe not so. 

Cas. I l)nt believe it partly ; 

For I am fresh of spirit and resolv'd 
To meet all perils very constantly. 
Bru. Even so, Lucilius. 

Cas. Now, most noble Brutus, 

The gods to-day stand friendly, that we may, 
95 Lovers in peace, lead on our days to age ! 

But since the affairs of men rest still incer- 

tain. 
Let's reason with the worst that may befall. 
If we do lose this battle, then is this 
The very last time we shall speak together : 
100 What are you then determined to do? 

Bru: Even by the rule of that philosophy 
By which I did blame Cato for the death 
Which he did give himself, — I know not how, 
But I do find it cowardly and vile, 
105 For fear of what might fall, so to prevent 

The time of life: — arming myself with 
patience 



146 JULIUS CAESAR. [Act V. Sc. i. 

To stay the providence of some high powers 

That govern us below. 
Gas. Then, if we lose this battle, 

You are contented to be led in triumph 

Thorough the streets of Eome? no 

Bru. No, Oassius, no: think not, thou noble 
Koman, 

That ever Brutus will go bound to Eome ; 

He bears too great a mind. But this same 
day 

Must end that work the ides of March begun ; 

And whether we shall meet again I know not. ns 

Therefore our everlasting farewell take : 

For ever, and for ever, farewell, Oassius ! 

If we do meet again, why, we shall smile ; 

If not, why then, this parting was well made. 
Cas, For ever, and for ever, farewell, Brutus ! 120 

If we do meet again, we'll smile indeed; 

If not, 'tis true this parting was well made. 
Bru. Why, then, lead on. 0, that a man might 
know 

The end of this day's business ere it come! 

But it sufficeth that the day will end, 125 

And then the end is known. Come, hoi 
away ! [Exeunt. 



Act V. Sc. ii.] JULIUS CAESAR. 147 

Scene II. 

The same. The field of battle. 

Alarum. Enter Brutus and Messala. 

Bru. Ride, ride, Messala, ride, and give these bills 
Unto the legions on the other side. 

[Loud alarum. 
Let them set on at once ; for I perceive 
But cold demeanour in Octavius' wing, 
5 And sudden push gives them the overthrow. 

Ride, ride, Messala: let them all come down. 

l^Bxeunt. 

SCEKE III. 

Another part of the field. 

Alarums. Enter Cassius and Titinius. 

Cas. 0, look, Titinius, look, the villains fly! 
Myself have to mine own turn'd enemy: 
This ensign here of mine was turning back ; 
I slew the coward, and did take it from him. 
5 Tit. Cassius, Brutus gave the word too early ; 
Who, having some advantage on Octavius, 
Took it too eagerly : his soldiers fell to spoil, 
Whilst we by Antony are all enclos'd. 
Enter Pinda^'tis. 



148 



JULIUS CAESAR. [Act V. Sc. iii. 



Pin. Fly further off, my lord, fly further off; 
Mark Antony is in your tents, my lord : 
Fly, therefore, noble Cassius, fly far off. 
Cas. This hill is far enough. Look, look, 
Titinius ; 
Are those my tents where I perceive the fire? 
Tit. They are, my lord. 
Cas, Titinius, if thou lovest me, 

Mount thou my horse, and hide thy spurs in 15 

him, 
Till he have brought thee up to yonder 

troops, 
And here again; that I may rest assured 
Whether yond troops are friend or enemy. 
Tit. I will be here again, even with a thought. 

[Exit, 
Cas, Go, Pindarus, get higher on that hill ; 20 

My sight was ever thick ; regard Titinius, 
And tell me what thou not'st about the field. 
[Pindarus ascends the hill. 
This day I breathed first : time is come round, 
And where I did begin, there shall I end ; 
My life is run his compass. Sirrah, what 25 
news? 
Pin. [Adove.1 my lord! 
Cas. What news? 

Pin. [Ahove,^ Titinius is enclosed round about 
With horsemen, that make to him on the spur ; 
Yet he spurs on. Now they are almost on 30 
him. 



I 



11 



4i 



Act V. Sc. iii.] JULIUS CAESAR. 149 

Now, Titinius! Now some light. 0, he 

lights too. 
He's ta'en. [Shout.} And, hark! they shout 
for joy. 
Cas. Come down, behold no more. 

O, coward that I am, to live so long, 
35 To see my best friend ta'en before my face! 

Pindarus descends. 
Come hither, sirrah : 
In Parthia did I take thee prisoner ; 
And then I swore thee, saving of thy life, 
That whatsoever I did bid thee do, 
40 Thou shouldst attempt it. Come now, keep 

thine oath ; 
Now be a freeman: and with this good 

sword, 
That ran through Caesar's bowels, search 

this bosom. 
Stand not to answer: here, take thou the 

hilts ; 
And, when my face is cover'd, as 'tis now, 
45 Guide thou the sword. [Pindarus stais Mm.'] 

Caesar, thou art reveng'd, 

Even with the sword that kill'd thee. 

[Dies. 
Pin. So, I am free ; yet would not so have been, 
Durst I have done my will. Cassius, 
Par from this country Pindarus shall run, 
50 Where never Eoman shall take note of him. 

[Exit 



150 JULIUS CAESAR. [Act V. Sc. iii. 

Re-enter Titinius with Messala. 

Mes, It is but change, Titinius : for Octavius 
Is overthrown by noble Brutus' power, 
As Cassius' legions are by Antony. 

Tit. These tidings will well comfort Cassius. 

Mes. Where did you leave him? 

Tit. All disconsolate, 55 

With Pindarus his bondman, on this hill. 

Mes. Is not that he that lies upon the ground? 

Tit. He lies not like the living. my heart ! 

Mes. Is not that he? 

Tit. No, this was he, Messala, 

But Cassius is no more. setting sun, eo 

As in thy red rays thou dost sink to night, 
So in his red blood Cassius' day is set; 
The sun of Eome is set ! Our day is gone ; 
Clouds, dews, and dangers come; our deeds 

are done! 
Mistrust of my success hath done this deed. 65 

Mes. Mistrust of good success hath done this 
deed. 
hateful error, melancholy's child, 
Why dost thou show to the apt thoughts of 

men 
The things that are not? error, soon 

conceiv'd, 
Thou never com'st unto a happy birth, 70 

But kill'st the mother that engender'd thee! 

Tit. What, Pindarus! where art thou, Pindarus? 

Mes. Seek him, Titinius, whilst I go to meet 



Act V. So. iii.] JULIUS CAESAR. 151 

The noble Brutus, thrusting this report 
75 Into his ears ; I may say, thrusting it ; 

For piercing steel and darts envenomed 
Shall be as welcome to the ears of Brutus 
As tidings of this sight. 
Tit. Hie you, Messala, 

And I will seek for Pindarus the while. 

\^Exit Messala. 

80 Why didst thou send me forth, brave Cassius? 

Did I not meet thy friends? and did not they 

Put on my brows this wreath of victory, 

And bid me give it thee? Didst thou not 

hear their shouts? 
Alas, thou hast misconstrued every thing ! 
85 But, hold thee, take this garland on thy 

brow; 
Thy Brutus bid me give it thee, and I 
Will do his bidding. Brutus, come apace, 
And see how I regarded Caius Cassius. 
By your leave, gods: — this is a Koman's 
part: 
^ Come, Cassius' sword, and find Titinius' 

heart. [Kills himself. 

Alarum. Re-enter Messala, with Brutus, young 
Cato, Strata, Volumnius, and Lucilius. 

Bru. Where, where, Messala, doth his body lie? 
Mes. Lo, yonder, and Titinius mourning it. 
Bru. Titinius' face is upward. 
Cato. He is slain. 



152 JULIUS CAESAR. [Act V. So. iii. 

Bru. Julius Caesar, thou art mighty yet ! 

Thy spirit walks abroad, and turns our swords 95 
In our own proper entrails. [Low alarums. 
Cato. Brave Titinius ! 

Look, whether he have not crown 'd dead 
Cassius ! 
Bru. Are yet two Romans living such as these? 
The last of all the Romans, fare thee well! 
It is impossible that ever Rome loo 

Should breed thy fellow. Friends, I owe 

moe tears 
To this dead man than you shall see me pay. 
I shall find time, Cassius, I shall find time. 
Come, therefore, and to Thasos send his 

body: 
His funerals shall not be in our camp, 105 

Lest it discomfort us. Lucilius, come ; 
And come, young Cato ; let us to the field. 
Labeo and Flavins, set our battles on : 
'Tis three o'clock; and, Romans, yet ere 

night 
We shall try fortune in a second fight. no 

[Exeunt. 



Act V. Sc. iv.] JULIUS CAESAR. 153 

ScEiq-E IV. 

Another part of the field. 

Alarum. Enter fighting ^ Soldiers ofhoth armies ; 
then Brutus^ young Cato^ LuciliuSy and others. 

Bru. Yet, countrymen, 0, yet hold up your 

heads ! 
Cato. What bastard doth not? Who will go with 
me? 
I will proclaim my name about the field : 
I am the son of Marcus Cato, ho ! 
5 A foe to tyrants, and my country's friend; 

I am the son of Marcus Cato, ho ! 
Bru. And I am Brutus, Marcus Brutus, I; 

Brutus, my country's friend; know me for 
Brutus ! [Exit. 

Lucil. young and noble Cato, art thou down? 
10 Why, now thou diest as bravely as Titinius; 

And mayst be honour'd, being Cato's son. 
First Sol. Yield, or thou diest. 
Lucil. Only I yield to die : 

There is so much that thou wilt kill me 
straight ; [ Offering money. 

Kill Brutus, and be honour'd in his death. 
15 First Sol. We must not. A noble prisoner! 
Sec. Sol. Room, ho! Tell Antony, Brutus is 
ta'en. 



154 JULIUS CAESAR. [Act V. Sc. v. 

First Sol. I'll tell the news. Here comes the 
general. 

Enter Antony. 

Briitns is ta'en, Brutus is ta'en, my lord. 

Ant. Where is he? 

Lucil. Safe, Antony ; Brutus is safe enough : 20 

I dare assure thee that no enemy 
Shall ever take alive the noble Brutus : 
The gods defend him from so great a shame ! 
When you do find him, or alive or dead, 
He will be found like Brutus, like himself. 25 

Ant. This is not Brutus, friend; but, I assure 

yon, 

A prize no less in worth : keep this man safe ; 
Give him all kindness : I had rather have 
Such men my friends than enemies. Go on. 
And see whether Brutus be alive or dead; 30 
And bring us word unto Octavius' tent 
How every thing is chanced. \^Exeunt. 

Scene V. 

Another part of the field. 

Enter Brutus,, Dardanius^ Clitus, Strato, and 
Volumnius. 

Bru. Come, poor remains of friends, rest on this 

rock. 
Oil. Statilius show'd the torch-light, but, my 

lord, 



Act V. Sc. v.] JULIUS CAESAR. 155 

He came not back : he is or ta'en or siain. 
Bru. Sit thee down, Clitus : slaying is the word ; 
5 It is a deed in fashion. Hark thee, Clitus. 

[ Whispering, 
Cli. What, I, my lord? No, not for all the world. 
Bru. Peace then ! no words. 
Cli. I'll rather kill myself. 

Bru, Hark thee, Dardanius. [ Whispering, 

Bar. Shall I do such a deed? 

Cli, Dardanius! 
10 Bar. Clitus ! 

Cli. "What ill request did Brutus make to thee? 
Bar. To kill him, Clitus. Look, he meditates. 
Cli. Now is that noble vessel full of grief, 
That it runs over even at his eyes. 
15 Bru. Come hither, good Yolumnius ; list a word. 
Vol, What says my lord? 

Bru. Why, this, Volumnius: 

The ghost of Caesar hath appear 'd to me 
Two several times by night ; at Sardis once, 
And, this last night, here in Philippi fields : 
20 I know my hour is come. 

Vol. ISTot so, my lord. 

Bru. Nay, I am sure it is, Volumnius. 

Thou seest the world, Volumnius, how it goes; 
Our enemies have beat us to the pit : 

\Low alarums. 
It is more worthy to leap in ourselves, 
25 Than tarry till they push us. Good Volum- 

nius, 



156 



JULIUS CAESAR. [Act V. Sc. v. 



Thou know'st that we two went to school 

together : 
Even for that our love of old, I prithee, 
Hold thou my sword-hilts, whilst I run on it. 
Vol. That's not an office for a friend, my lord. 

[Alarum still. 
Cli. Fly, fly, my lord ; there is no tarrying here. 
£ru. Farewell to you ; and you ; and you, Volum- 
nius. 
Strato, thou hast been all this while asleep ; 
Farewell to thee too, Strato. Countrymen, 
My heart doth joy that yet in all my life 
I found no man but he was true to me. 
I shall have glory by this losing day 
More than Octavius and Mark Antony 
By this vile conquest shall attain unto. 
So fare you well at once; for Brutus' tongue 
Hath almost ended his life's history : 
Night hangs upon mine eyes; my bones 

would rest. 
That have but labour'd to attain this hour. 
[Alarum. Cry within, "Fly, fly, fly!" 
Cli. Fly, my lord, fly. 

Bru. Hence ! I will follow. 

[Bxeunt Clitus, Dardanius, and Volumnius. 
I prithee, Strato, stay thou by thy lord : 
Thou art a fellow of a good respect; 
Thy life hath had some smatch of honour 

in it: 
Hold then my sword, and turn away thy face, 



30 



35 



40 



45 



Act V. Sc. v.] JULIUS CAESAR. 157 

While I do run upon it. Wilt thou, Strato? 
Stra. Give me your hand first. Fare you well, 
my lord. 
50 Bru. Farewell, good Strato. \_Runs 07i his 
sword.] Caesar, now be still: 
I kill'd not thee with half so good a will. 

[Dies, 
Alarum. Retreat. Enter Octavius, Antony, 

Messala, Lucilius, and the army, 
Oct, What man is that? 
Mes. My master's man. Strato, where is thy 

master? 
Stra. Free from the bondage you are in, Messala : 
55 The conquerors can but make a fire of him ; 

For Brutns only overcame himself, 
And no man else hath honour by his death. 
Lucil. So Brutus should be found. I thank thee, 
Brutus. 
That thou hast prov'd Lucilius' saying true. 
60 Oct. All that serv'd Brutus, I will entertain them. 
Fellow, wilt thou bestow thy time with me? 
Stra. Ay, if Messala will prefer me to you. 
Oct. Do so, good Messala. 
Mes. How died my master, Strato? 
65 Stra. I held the sword, and he did run on it. 
Mes. Octavius, then take him to follow thee. 
That did the latest service to my master. 
Ant. This was the noblest Koman of them all : 
All the conspirators, save only he, 
70 Did that they did in envy of great Caesar ; 



158 JULIUS CAESAR. [Act V. Sc. v. 

He only, in a general honest thought 
And common good to all, made one of them. 
His life was gentle, and the elements 
So mix'd in him that Nature might stand up 
And say to all the world "This was a man!" 'J'S 
Oct. According to his virtue let us use him, 
With all respect and rites of burial. 
Within my tent his bones to-night shall lie, 
Most like a soldier, order'd honourably. 
So call the field to rest ; and let's away so 

To part the glories of this happy day. 

[Exeunt, 



NOTES. 



ABBEEVIATIONS. 

Clar. — Clarendon Press Edition, by W. Aldis Wright. 

G. — Globe Edition of Shakspere. References to other 
plays of Shakspere's than Julius Caesar are according to 
this edition. 

Plut.— Shakespeare's Plutarch, edited by W. W. Skeat. 

ACT I. 

I. i. This first scene indicates the existence of the two 
main forces at work throughout the play, (1) the popularity 
which is bearing Caesar to the summit of his ambition, and 
(2) the hatred of the faction of the opposition. It is Shaks- 
pere's custom thus to strike the key-note at the outset. 

I. i. 3. Being mechanical. Being mechanics or artisans. 

I. i. 10. In respect of. In comparison with. 

I. i. 11. Cobhler. Originally, a "mender," then "clumsy 
workman." In Shakspere's English the word has no ex- 
clusive reference to shoes ; hence the repetition of the ques- 
tion by Marullus. 

I. i. 12. Directly. Straightforwardly. 

I, i. 15. Soles. For another instance of this familiar pun, 
cf. Mercha,nt of Venice, IV. i. 123, 24, " Not on thy sole, but 
on thy soul, harsh Jew, Thou makest thy knife keen." 

I. i. 18. Be not out. Do not fall out. The sense of the 
punning phrase in the next line is, of course, "out at heels." 
The favorite Elizabethan habit of punning is illustrated 
again in awl in ver. 25, and in recover in ver. 27, below. 

I. i. 28. Proper. Originally, "having the qualities appro- 
priate to a man," later, " fine," " handsome." 

I. i. 35-55. Cf . Plut. , p. 91. ' ' But the triumph he made into 
Rome for the same [i.e., the victory over Pompey's sons], 
did as much offend the Romans, and more, than anything 

159 



160 NOTES. 

that ever he had done before : because he had not overcome 
captains that were strangers, nor barbarous kings, but had 
destroyed the sons of the noblest man of Rome, whom 
fortune had overthrown." Triumph is used in the special 
Roman sense of the procession and religious ceremonies held 
in honor of a victorious general on his return to the city 
after some notable success, 

I. i. 41. Pompey. The great Roman general who had 
ultimately been overcome by Caesar at Pharsalia in 48 b. c. 
He had been the champion of the conservative party in 
Rome. 

I, i. 50. Replication- Echo. 

I. i. 61. Sort. I 

I. i. 65. Whether. Pronounced "whe'er," a contraction 
common in earlier English. Metal. Used in the meta- 
phorical sense of "spirit," for which the spelling "mettle" 
is now customary. Cf . I. ii. 307. 

I. i. 69. Ceremonies. Decorations. Cf . trophies in ver. 73, 
and scarfs in I. ii. 295. 

I. i. 71. Feast of Lupercal. The Lupercalia, a feast cele- 
brated by the Romans on the 15th of February in honor of 
Lupercus, an old god of shepherds. In later times it was 
associated with the legend of Romulus and the wolf, and 
also with the worship of Pan, the Greek god of shepherds. 
Cf. note on I. ii. 1-9. 

I. i. 74. The vulgar. The common people. 

I. i. 77. Pitch. The height to which a falcon could fly. 

I. ii. In this second scene the exposition of the situation 
in Rolne is more definite. Caesar himself comes upon the 
stage surrounded by pomp and flattery, and the nature and 
danger of the opposition is shown in the conversations of 
Cassius, Brutus, and Casca. 

Stage direction. Antony, for the course. Prepared for 
running the course, undressed. On course, see next note. 

I. ii. 1-9. Cf. Plut., p. 163, "The manner of this running 
was thus. On that day there are many young men of noble 
house, and those specially that be chief officers for that 
year, who running naked up and down the city, anointed 
with the oil of olive, for pleasure do strike them they meet 
in their way with white leather thongs they have in their 



NOTES. ^ 161 

hands." The thongs were cut from the hides of goats and 
dogs sacrificed by the priests of Lupercus. Antony was chief 
of a new order of these priests. 

I. ii. 12. Soothsayer. See Introduction, pp. 31, 32. 

I. ii. 18. Ides of March. March 15th. 

I. ii. 24. Stage direction. Sennet. A particular set of 
notes on a trumpet. 

I. ii. 29. Quick. Lively. Cf. its use in the sense of "alive" 
in " the quick and the dead " in the Apostles' Creed. 

I. ii. 34. Show. Evidence. Cf . I. ii. 47. For the relative 
as see Introduction, p. 38 (e). 

I. ii. 35. Bear ... a hand. A figure irom horsemanship ; 
to "bear a rein" and so to "treat." : ,t 

I. ii. 39. Merely. Entirely, altogether; an obsolete use. 
Cf . Tempest, I. i. 59, " We are merely cheated of our lives 
by drunkards. " 

I. ii. 40. Cf. Introduction, p. 37 (1.) (a). 

I. ii. 41. Only proper. Belonging exclusively. 

I. ii. 42. Soil. Stain. Behaviours. See Introduction, p. 37 

(l.)(fe). 

I. ii. 44. Be you one. Be assured that you are one. 

I. ii. 48. Mistook,. See Introduction, p. 39 (4.) (c). Passion. 
Feelings. 

I. ii. 54. Jv^t. True. 

I. ii. 59. Where. Used loosely of occasion rather than of 
place. Of the hest respect. Of those most highly esteemed. 

I. ii. 62. Had his eyes. By strict grammar, his refers to 
Brutus and the phrase means " saw clearly." But Wright 
prefers to take it as a loose phrase for "had their eyes," 
meaning " saw himself as thes&others see him." 

I. ii. 69. Modestly. Etymologically, "with due measure," 
" without exaggeration or diminution." Or the idea may 
be that another man may fittingly enough speak of the qual- 
ities on which it would not be modest for Brutus himself to 
dwell. 

I. ii. 71. Jealous on. Suspicious of. 

I. ii. 72. Laugher. Buffoon. The Polios read laughter^ 
which may be correct in the sense of " object of laughter." 

I. ii. 72, 73. Did use to stale. Were used to make stale 
with too frequent use. 



162 NOTES. 

I. ii. 74. Protester. One who makes strong profession of 
friendship. 

I. ii. 76. Scandal. Slander. 

I. ii. 77. Profess myself. Supply " a friend." 

I. ii. 78. Bout. Used contemptuously for "company." 

I. ii. 87. Indifferently. Without emotion. The general 
sense of ver. 86-87 seems to be that Brutus will not be dis- 
turbed if he has to face the alternatives of honor and death 
or dishonor and life. The explanation of indifferently as 
"impartially," given by Wright and other editors, is contra- 
dicted by ver. 88, 89. 

I. ii. 88. Speed. Make prosperous. 

I. ii. 91. Favour. Appearance. Cf. "ill-favored," etc. 

I. ii. 95. Lief. Pronounce " lieve," to bring out the pun 
with live. [Clar.] 

I. ii. 100-115. Shakspere seems to have invented this inci- 
dent. It may have been suggested by the mention of such 
feats in swimming as we find attributed to Caesar in Plut., 

P;86. 

I. ii. 101. Chafing. "A play upon the two meanings of 
' chafe,' which signifies both ' to rub against ' and ' to be 
angry.' " [Clar.] 

I. ii. 109. Hearts of controversy. Controversial hearts, op- 
posing courage. See Introduction, p. 37 (1.) (a). 

I. ii. 110. Arrive. Arrive at. See Introduction, p. 39 (6) . 

I. ii, 112, 115. Note the repetition of I. 

I. ii. 114. On the metre of this line see Introduction, 
p. 35, 5. 

I. ii. 119. Fever. Plut. (p. 57) records that Caesar was in 
Spain the first time he was seized with the " falling sick- 
ness." 

I. ii. 122. The inversion of the prose form of statement 
here (" the colour fled from his lips ") has been taken to sug- 
gest the figure of a soldier deserting his colors. 

I. ii. 123. Whose tend. The direction of whose glance, i.e., 
whose glance. 

I. ii. 124. His. Its. See Introduction, p. 37 (3.) (b). 

I. ii. 135, 36. Colossus. Referring to the bronze statue of 
Apollo at Rhodes, said to have been seventy cubits high. 
Bestride is used because of the tradition that the figure stood 



NOTES. 163 

astride of the mouth of the harbor, so that ships passed 
between its legs. As a matter of fact, it stood on one side. 

I. ii. 142. For the metre, see Introduction, p. 34, 1. 

I. ii. 146. 'Em. This form, which is very common in the 
writing's of some of the Elizabethan dramatists, is derived 
not from them, but from the middle English hem. Cf . III. ii. 5. 

I. ii. 153. Great flood. The deluge of Greek mythology, 
from which Deucalion and his wife Pyrrha alone survived. 

I. ii. 155. Walls. The Folios read "walkes" which has 
been defended as meaning " limits." 

I. ii. 156. Rome. Shakspere seems to have pronounced 
this "Room." The same pun occurs in K. John, III. i. 180, 
*' That I have room with Rome to curse a while." 

I. ii. 159. A Brutus once. The reference is to Lucius Ju- 
nius Brutus, who was a leader in the expulsion of the 
Tarquins and the establishment of a republic in Rome. 
Plutarch says Marcus Brutus claimed descent from him. 

I. ii. 160. Eternal. For Shakspere's reasons for substitut- 
ing this word for " infernal," see Introduction, p. 39. 

I. ii. 163. Jealous. Doubtful, suspicious. Cf . I. ii. 71 and 
note. 

I. ii. 163. Aim. Guess. 

I. ii. 166. So. If, provided that. 

I. ii. 171. Chew. Meditate, ruminate. 

I. ii. 174. These . . . as. See Introduction, p. 38 (3.) (e). 

I. ii. 177. But. Even. 

I. ii. 181. Proceeded. Happened. Worthy note. See Intro- 
duction, p. 39 (6). 

I. ii. 186. Ferret . . . eyes. A ferret has red eyes. 

I. ii. 193-95. Cf. Plut., p. 97: "Caesar also had Cassius 
in great jealousy, and suspected him much : whereupon he 
said on a time to his friends, ' what will Cassius do, think 
ye? I like not his pale looks.' Another time when Caesar's 
friends complained unto him of Antonius and Dolabella, that 
they pretended some mischief towards him: he answered 
them again, ' As for those fat men and smooth-combed 
heads,' quoth he, 'I never reckon of them; but these pale- 
visaged and carrion-lean people, I fear them most,' meaning 
Brutus and Cassius." 

I. ii. 194. Tond. An obsolete form of " yon." 



164 NOTES. 

I. ii. 197. Well-given. Well-disposed. 
I. ii. 199. My name. The man bearing my name, i.e., I, 
I. ii. 204. He hea/rs no music. Cf . Merchant of Venice, V. 
i. 83-88. 

The man that hath no music in himself, 
Nor is not moved with concord of sweet sounds, 
Is fit for treasons, stratagems and spoils ; 
The motions of his spirit are dull as night 
And his affections dark as Erebus : 
Let no such man be trusted. 

For the frequency of such, an opinion in Shakspere's day, cf . 
Chappell, Old Eng-lish Popular Music, I. 59: "During the 
long reign of Elizabeth, music seems to have been in univer- 
sal cultivation as well as universal esteem. . . . He who felt 
not, in some degree, its soothing influences, was viewed as a 
morose, unsocial being, whose converse ought to be shunned 
and regarded with suspicion and distrust." 

I. ii. 208. Be. See Introduction, p. 39, (4.) (d). 

I. ii. 209. Whiles. Probably an irregular adverbial geni- 
tive of the noun "while." It is preserved with an excres- 
cent "t" in our "whilst." 

I. ii. 213. Caesar's deafness is not mentioned by Plutarch, 
but appears to be imagined by Shakspere. 

I. ii. 218. Sad. Serious. 

I. ii. 221-84. Cf. Plut., pp. 163, 64. 

I. ii. 230. Marry. Originally an oath by the Virgin Mary. 

I. ii. 231. Gentler. Adjective for adverb. See Introduc- 
tion, p. 39, (5.) (b). 

I. ii. 239. Not . . . neither. See Introduction, p. 39, (5.) (a). 

I. ii. 240. Coronets. See note on I. ii. 293. 

I. ii. 248. Shouted. The 1st Folio reads " howted," but, as 
Wright notes, the cry was one of applause. 

I. ii. 253. Swounded. Swooned. A similar inserted "d" 
appears in " sound," " expound," etc. For Caesar's liability 
to the epilepsy described here, cf. Plut., pp. 57, 89, 95. 

I. ii. 261. For the metre see Introduction, p. 34, 1 and 2. 

I. ii. 271. Plucked me ope. Me is what is known as an 
ethical dative = " for me." Here it has no deiinite meaning, 
but is used merely for vividness. See Introduction, p. 38, 
(3.) (d). Ope is an obsolete form of " open." 



NOTES. 165 

I. ii. 272. Doublet. See note on I. ii. 293. 

I. ii. 273. An. If. Cf . ver. 290, below. A man of any occu- 
pation. An artisan or tradesman like the rest of the crowd 
Caesar was addressing. Wrig-ht thinks that there is also a 
suggestion of the meaning, "a practical man, a man of 
business." 

I. ii. 293. Greek to me. In using this phrase, as in the 
mention of douhlet in ver. 272, above, Shakspere was thinking 
of London rather than of Rome. 

I. ii. 295. Scarfs. Cf . I. i. 69, and note. 

I. ii. 300. I am promised forth. I have accepted an invita- 
tion to go out. 

I. ii. 307. Quick. Lively. Cf . I. ii. 29, and note. MettU. 
Spirit. Cf . I. i. 65 and note, and I. ii. 320 and note. 

I. ii. 310. Tardy. Slothful. 

I. ii. 320. Metal. The literal sense of the word is more 
clearly in the author's mind here than in I. i. 65 or I. ii. 307. 

I. ii. 321. Disposed. " To " is omitted. 

I. ii. 324, Bear me hard. Cherish a grudge against me, 
hate me. Cf . II. i. 215 and III. i. 157. 

I. ii. 326. Humour me. Win^me to his purposes by playing 
upon my humor. 

I. ii. 327. Hands. Handwritings. Cf. Plut., p. 97, "Now 
they that desired change, and wished Brutus only their 
prince and governor above all other, they durst not come to 
him themselves to tell him what they would have him to do, 
but in the night did cast sundry papers into the Praetor's 
seat, where he gave audience, and the most of them to this 
effect: 'Thou sleepest, Brutus, and art not Brutus in- 
deed.' " Cf. I. iii. 142-46, note, and II. i. 46-50. 

I. ii. 329. Tending to. Indicating. 

I. ii. 332, 33. Sure . . . endure. A rhyming couplet fre- 
quently marked the exit of an actor or the close of a scene 
in the Elizabethan drama. 

I. iii. Note the effectiveness of the contrast between the 
superstitious panic of Casca in this scene and his affected 
cynicism in the previous one. The action in I. ii. took place 
on February 15th ; I. iii. is on the night before March 15tJi. 

I. iii. 1. Brought. Escorted. 

I. iii. 3. Sway. Regular movement. 



166 NOTES. 

I. iii. 12. With. In their attitude towards. 

I. iii. 13. Destruction. Note that the metre requires this 
word to be pronounced with four syllables. 

I. iii. 14. More wonderful. I.e., than the storm just 
described. 

I. iii. 15-28. For these portents cf. Plut., pp. 97, 98, or see 
Introduction, p. 31. Cf . also Hamlet, I. i. 113 fE. 

I. iii. 20. Against. Opposite. 

I. iii. 21. Who. See Introduction, p. 38 (3.) (e). Glared. 
The folios read glazed, which may be a variant form of the 
same word. Wright quotes evidence of the modern dialect 
use of cftoze in the sense of "stare." 

I. iii. 23. Upon a heap. Into a crowd. 

I. iii. 26. Bird of night. The owl, whose hooting was re- 
garded as of ill omen. 

I. iii. 30. These. Such and such. Cf. II. i. 31. 

I. iii. 32. Climate. Country. 

I. iii. 35. Clean from. Quite away from. 

I. iii. 42. What night. What a night ! 

I. iii. 47. Me. See Introduction, p. 38 (3.) (c). 

I. iii. 48. Unbraced. With clothes unfastened. Cf . 11. i. 262. 

I. iii. 49. Thunder-stone. The stone or bolt which was 
supposed to fall with the lightning. 

I. iii. 60. Put on. Actually suffer, not "pretend to suf- 
fer." In. Into. 

I. iii. 63, 64. After why, supply "we see," or some similar 
phrase. 

I. iii. 64. From quality and kind. Contrary to their dispo- 
sition and nature. [Clar.] Cf . quality in ver. 68 below. 

I. iii. 65. The reading in the text follows the Folios, and 
seems to be defensible, taken as meaning that all kinds of 
people are led to speculate about the strange happenings. 
The common emendation is: "Why old men fool and 
children calculate." 

I. iii. 66. Their ordinance. What they are ordained to be. 

I. iii. 67. Preformed faculties. Faculties originally created 
for special purposes. 

I. iii. 68. Quality. Nature, kind of thing. Cf. I. iii. 64, 
and note. 

I. iii. 71. State. State of affairs. 



NOTES. 167 

I. iii. 75. It seems most natural to understand this as a 
reference to the lion described by Casca in I. iii. 20-22, and 
to suppose that Shakspere forgot that it was to Cicero, not 
to Cassius, that Casca had mentioned it. Or we may sup- 
pose the prodigy already a matter of common rumor. 

I. iii. 81. Thews. Muscles. 

I. iii. 82. Woe the while. Alas for these times ! 

I. iii. 83. With. Shakspere often uses "with" where we 
should use "by"; e.g., " Marr'd, as you see, with traitors," 
III. ii. 206. 

I, iii. 95. " Can forcibly confine spiritual strength." 

I. iii. 114. My answer^ etc. I shall be called on to answer 
for my words. 

I. iii. 117. Fleering. Grinning, mocking. For that, see 
Introduction, p. 38, (3.) (e). Hold, my hand. Stop, here's my 
hand on it. 

I. iii. 118. Factious. Active in organizing a party (with- 
out the evil implications of the modern usage). 

I. iii. 123. Undergo. Undertake. 

I. iii. 126. Pompey's porch. A porch attached to the theatre 
built by Pompey on the Campus Martins. Cf. III. i. 12, 
note. 

I. iii. 128. Complexion of the element. The aspect of the 
heavens. 

I. iii. 129. Favour. Appearance. Cf. I. ii. 91 and note. 

I. iii. 135. Incorporate. In one body with us, closely 
united. 

I. iii. 138. There's two, etc. See Introduction, p. 38, (4.) (a) 
and cf. I. iii. 148. 

I. iii. 142-46. Cf. Plut., p. 112 : " But for Brutus, his friends 
and countrymen, both by divers procurements and sundry 
rumours of the city, and by many bills also, did openly call 
and procure him to do that he did. For under the image 
of his ancestor Junius Brutus (that drave the kings out of 
Rome) they wrote : ' O, that it pleased the gods thou wert 
now alive, Brutus ! ' and again, ' that thou wert here among 
us now ! ' His tribunal or chair, where he gave audience 
during the time he was Praetor, was full of such bills: 
'Brutus, thou art asleep, and art not Brutus indeed.' " Cf. 
I. ii. 327, note. 



168 NOTES. 

I. iii. 144. The logical order is, "Where but Brutus may 
find it." 

I. iii. 148, 155. See Introduction, p. 38, (4.) (a). 

I. iii. 153. Pompey's theatre. Of. I. iii. 126, note. 

I. iii. 157. Cf. Plut., p. 113. 

I. iii. 159. Alchemy. The old science by which medieval 
philosophers tried to turn base metals into gold. 

I. iii. 163. Conceited. Conceived, formed an idea of. 

ACT II. 

The second act carries on the exposition of the main char- 
acters and brings the development of the plot all but to the 
climax. 

II. i. The first scene elaborates still further the character 
of Brutus, showing him in a variety of relations — to his 
attendant, to his friends, and to his wife ; — and by means of 
soliloquy, brings out clearly his attitude towards Caesar 
and the proposed assassination. 

II. i. 1. What. A mere exclamation, like when in ver. 5. 

II. i. 12. General. The general public, the community. 

II. i. 18. The ahuse of greatness. The evil which greatness 
is liable to do. 

II. i. 19. Remorse. Pity (here, as often in Elizabethan 
English, without the sense of self-reproach for past ac- 
tions). 

II. i. 30. Affections. Passions in general. Swayed. Gov- 
erned. 

II, i. 31. Proof. Experience. 

II. i. 33. Climher upward. Some editors put a hyphen 
between these words to bring out more clearly the relation 
of upward. 

II. i. 36. Degrees. In the literal sense of " steps." 

II. i. 38. Prevent. The etymological sense of "come be- 
fore," "anticipate," is still present in the use of the word 
here. Cf . V. i. 105. Quarrel. Cause of complaint. 

II. 1. 39. Colour. Plausible appearance. The general 
sense is, "Since no plausible complaint can be based on his 
present conduct, etc." 

II. i. 31. These and these. Cf . I. iii. 30 and note. 



NOTES. 169 

II. i. 35. Closet. For the sense in which this word is 
used. cf. II. i. 7. 

II. i. 37. Cf . I. ii. 326-30. 

II. i. 40. Ides. The Folios read "first," but the context 
(e.g., ver. 59) shows that this must be a slip. 

II. i. 44. Exhalgctions. Meteors. 

II. i. 48. I follow Grant White in regarding- this line as 
part of the soliloquy, not as the end of the letter. Brutus 
takes up the letter phrase by phrase. Cf. ver. 51 and 55. 

II. i. 50. Took. See Introduction, p. 39 (4.) (c). 

II. i. 56. Thee. To thee, dative case. 

II. i. 59. Fifteen. So the Folios. Most editors have fol- 
lowed Theobald in changing this to "fourteen." But it 
appears from ver. 101-110 and 192, 93 that it is past midnight, 
and that the fifteenth might be regarded as begun, so that 
Lucius might easily be supposed to use the phrase in the 
text though Brutus in ver. 40 spoke of the ides as "to- 
morrow." 

II. i. 64. Motion. Motive, impulse. 

II. i. 66. The Genius, etc. " The reasonable soul and the 
bodily powers." [Clar.] 

II. i. 67. Man. The Folios read "a man," which disturbs 
the metre and is not necessary for the sense. 

II. i. 70. Tour brother Cassius. Cassius had married 
Junia, the sister of Brutus. 

II. i. 72. Moe. The old comparative of "many." 

II. i. 73, 74. Wright notes that Shakspere is here thinking 
of the slouched hat of his own time rather than of the brim- 
less ' ' pileus ' ' of the Romans. Cf . I. ii. 240, 272, 293, and notes. 

II. i. 76. Favour. Cf . I. ii. 91, note, and I. iii. 129. 

II. i. 83. Path. If this reading is correct, it must be a 
verb meaning "walk." Coleridge emended to "put" and 
omitted the comma, which is found only in the second of 
the Folios. 

II. i. 84. Erebus. In Greek mythology, the region of 
nether darkness between Earth and Hades. It is often used 
of the lower world in general. 

II. i. 104. Fret. Mark with ornamental lines. 

II. i. 107. Growing on. Tending towards, encroaching 
on. Casca is pointing out that in the early spring the sun 



170 NOTES. 

rises to the soutti of east. The conversation is put in 
merely to give time to Brutus and Cassius for a whispered 
conference. 

II. i. 108. Weighing. Taking into consideration. To what 
is this participle related? 

II. i. 117. Hence to his idle hed. Go to iiis bed and lie 
there idle. 

II. i. 119. By lottery. The implication is that the cruelties 
of the tyrant will be purely capricious and undeserved. 

II. i. 125. Secret. Having promised secrecy. Spoke. See 
Introduction, p. 39 (4.) (c). 

II. i. 129. Cautelous. Deceitful. The word cautel orig- 
inally meant merely " caution " but became degraded to 
" cunning," " deceit." 

II. i. 130. Carrions. Decaying carcases : used contemp- 
tuously of infirm old men. 

II. i. 133. Even. All on a high level. 

II. i. 134. Insuppressive. Not to be suppressed. Cf . As 
You Like It, III. ii. 10, " The fair, the chaste and unexpress- 
ive she." Mettle. Cf. I. i. 65, I. ii. 307, and notes. 

II. i. 138. Guilty . . . hastardy. Each guilty' of an act 
that dishonors its origin. 

II. i. 150. Break with him. Tell him of the matter. Cf . 
the modern sense. 

II. i. 156-91. Cf. Plut., p. 119: " All the conspirators, but 
Brutus, . . . thought it good also to kill Antonius, because 
he was a wicked man, and that in nature favoured tyranny : 
besides also, for that he was in great estimation with sol- 
diers, having been conversant of long time amongst them : 
and especially having a mind bent to great enterprises, he 
was also of great authority at that time, being Consul with 
Caesar. But Brutus would not agree to it. First, for that 
he said it was not honest : secondly, because he told them 
there was hope of change in him. For he did not mistrust 
but that Antonius, being a noble-minded and courageous 
man, (when he should know that Caesar was dead), would 
willingly help his country to recover her liberty, having 
them an example unto him to follow their courage and 
virtue." Cf. also Plut., p. 164. 

II. i. 157. Of him. In him. 



NOTES. l*?*! 

II. i. 158. Shrewd contriver. Mischievous schemer. 

II. i. 164. Envy. Used in the more general sense of 
" malice." Cf. envious in ver. 178, below. 

II. i. 166. For the metre, see Introduction, p. 35, 5. 

II. i. 169. Come hy. Get at. 

II. i. 171. Gentle. In Elizabethan English this word fre- 
quently bears the earlier meaning of "well-born," and so 
" honorable," as here. 

II. i. 175. Subtle. Working under the surface, dissem- 
bling. 

II. i. 178. Envious. Cf . note on ver. 164, above. 

II. i. 187. The 1st Folio has a semi-colon after himself. 
This punctuation, or that adopted in the text, implies the 
sense, " All the harm he can do is to injure himself, i.e., he 
can take thought, etc." If the comma or semi-colon after 
himself be removed, himself becomes intensive instead of 
reflexive, and we have a case of the split infinitive. Take 
thought. Become melancholy. This use of thought in the 
sense of "anxiety," "brooding," is common in Shaks- 
perean English. Cf . Hamlet, III. i. 84, 85. 

And thus the native hue of resolution 

Is sicklied o'er with the pale cast of thought. 

II. i. 188. " And it would be a good thing if he did so." 

II. i. 190. Fear. Cause of fear. 

II. i. 192. ClocTi. Note the anachronism. Stricken. See 
Introduction, p. 39 (4.) (c). 

II. i. 194. Whether. See Introduction, p. 34, 3. 

II. i. 196. From. Away from, contrary to. Main. Strong, 
or, perhaps, "general." 

II. i. 197. Ceremonies. Keligious rites. Contrast the use 

in I. i. 69. 
II. i. 198. Apparent. Seen by all, and so " undeniable." 
II. i. 204. Unicorns . . . trees. Unicorns were supposed to 
be captured by being induced to pursue the hunter, who 
stepped behind a tree, into which the animal ran his horn 
and remained fixed. 

II. i. 205. Bears with glasses. Bears were supposed to be 
fascinated by mirrors, so that the hunters got an opportu- 
nity for deliberate attack. 



172 NOTES. 

II. i. 215. Bear . . . hard. Hate. Cf. I. ii. 324. 

II. i. 218. By him. "Bj his house. 

n. i. 224. Fresh and merrily. Which is the modern idiom, 
adjective or adverb? 

II. i. 225. Pvt on. Wear the appearance of. 

II. i. 227. Formal constancy. Absence of change in out- 
ward form. 

II. i. 230. Honey-heavy dew. The Folios have " honey- 
heavy-dew," and Collier, followed by White and others, 
emended to " heavy honey-dew." The general meaning is 
clear. 

n. i. 231. Nor no. See Introduction, p. 39, (5.) (a). 

II. i. 233. Portia. For this scene with Portia, cf. Plut., 
p. 115. 

II. i. 238. Stole. See Introduction, p. 39, (4.) (c). 

II. i. 246. Wafture. Wave. 

II. i. 248. Impatience. For the metrical value, see Intro- 
duction, p. 36. 

II. i. 250. Humour. A man's temperament or his mood 
was supposed to be determined by the predominance of one 
of the four *' humours," blood, choler, phlegm, and melan- 
choly, which inhabited the body. From this idea of 
"mood "(is derived the sense of "caprice." For another 
use, cf. ver. 262, below. 

II. i. 251. His. Its. See Introduction, p. 37, (3.) (b). 

II. i. 254. Condition. Disposition. 

II. i. 255. Dear my lord. The transposition is due to the 
frequent close association of the possessive and the noun. 
So we have often " good my lord " ; in Romeo and Juliet, 
III. v. 200, "sweet my mother"; and in Troilus and 
Cressida, V. ii. 109, "poor our sex." 

II. ii. 261. Physical. Wholesome. 

II. i. 262. Unbraced. Cf. I. iii. 48. Humours. Moisture, 
dampness. 

II. i. 266. Rheumy. Causing rheum or catarrh. 

II. i. 268. Sick offense. Harmful cause of sickness. Cf. 
"familiar instances" in IV. ii. 16, and see Introduction, 
p.37, (1.) (a). 

II. i. 271. Charm. Conjure. 
II. i. 275. Heavy. Sad. 



NOTES. 173 

II. i. 283. In sort or limitation. In a limited way, with 
restrictions. 
II. i. 284. Keep with. Live with. 

II. i. 285. In the suburbs. In the outskirts, not in the 
heart. It has been suggested that there is a further refer- 
ence, viz., to the unsavory reputation which the suburbs 
of London had in Shakspere's time. 

II. i. 295. Cato^s daughter. Marcus Porcius Gate, sur- 
named Utieensis, a patriot and Stoic philosopher, was one 
of the most determined opponents of Caesar. He com- 
mitted suicide at Utica in N. Africa after Caesar's victory 
at Thapsus in 46 B.C. On this passage cf. Plut., pp. 115-16: 
" ' And for myself, I have this benefit moreover, that I am 
the daughter of Cato, and wife of Brutus. This notwith- 
standing, I did not trust to any of these things before, until 
that now I have found by experience that no pain or grief 
whatsoever can overcome me.' With those words she 
shewed him her wound on her thigh, and told him what 
she had done to prove herself." 
II. i. 299. Constancy. Firmness. Cf . II. i. 227 and II. iv. 6. 
II. i. 308. Charactery of. What is charactered or writ- 
ten on. 

II. i. 312. How? An exclamation of surprise at the signs 
of sickness. 

II. i. 313. Vouchsafe. " Condescend to accept." [Clar.] 
II. i. 831. To whom. To him to whom. The Folios have 
a comma after going, a punctuation which compels us to 
give unfold a double object, (1) what it is, and (2) to whom 
it must be done. Set on your foot. This seems to be equiva- 
lent to some such colloquialism as "Go ahead." 

II. ii. This scene serves to display the character of 
Caesar, and to advance the plans of the conspirators. In 
his stress upon Caesar's vanity and arrogance Shakspere 
follows hints in Plutarch's account of Caesar in the last 
year of his life. The general impression of Caesar given 
by Shakspere differs from that given by Plutarch, not so 
much on account of characteristics invented by Shakspere 
as because the proportions are changed by the omission of 
the narrative of Caesar's more heroic days which forms 
the greater part of the Life by Plutarch. It is to be noted 



174 NOTES. 

also that the contrast between the character of Brutus as 
shown in the previous scene and that of Caesar in the 
present one is emphasized by the contrast of their wives 
and their respective relations to them. 

II. ii, 1. Have. See Introduction, p. 39, (4.) (b). 

II. ii. 5. Present. Immediate. 

II. ii. 6. Success. This word in older Eng-lish is fre- 
quently neutral, implying- merely "result." Hence it is 
often qualified by " good " or " ill." 

II. ii. 10. Shall forth. See Introduction, p. 39, (4.) (e), 

II. ii. 13. Stood on ceremonies. Put stress on religious 
signs or omens. Cf . the uses of ceremonies in I. i. 69 and 
II. i. 197. 

II. ii. 14-25. See Introduction, p. 31. 

II. ii. 16. Watch. Wright notes that here again Shaks- 
pere is thinking of London rather than of Rome. 

II. ii. 30. Bight form of wa/r. All the regular array of 
battle. 

II. ii. 23. Did neigh. The first Folio reads " do neigh," 
the others, " did neigh." The confusion of tenses may be 
intentional, to indicate excitement. Note the variety of 
tenses throughout the speech. 

II. ii. 18-24. These omens are referred to by Shakspere 
again in Hamlet, I. i. 113, ff. : 

In the most high and palmy state of Rome, 
A little ere the mightiest Julius fell, 
The graves stood tenantless and the sheeted dead 
Did squeak and gibber in the Roman streets. 

For the chronological relation between Julius Caesar and 
Hamlet, see Introduction, p. 25. 

II. ii. 25. All use. Which sense of me is here employed? 

II. ii. 42. Should he. Would be. The modern distinction 
between "should" and "would," "shall" and "will" 
dates from the seventeenth century, and is not observed by 
Shakspere. 

II, ii. 46. We are. The Folios read " We heare," but 
nearly all modern editors emend to "we are" or "we 
were." 

II. ii. 56. Humour. Whim, caprice. Cf . II. i. 250 and note. 



NOTES. 175 

II. ii. 73. Satisfaction. For metrical purposes this word 
has here five syllables. Cf. impatience in II. i. 248 and see 
Introduction, p. 36. 

II. ii. 76. Statue. If status is dissyllabic, this line is nine- 
syllabled. But in Richard III., III. vii. 25, 

But like dumb statues or breathing stones, 
it has three syllables, and other writers of the time used 
" statua." Hence editors have here read either " statuS " 
or "statua." Cf. III. ii. 197. 

II. ii. 89. Tinctures. It was a custom to preserve as 
relics handerchiefs tinctured or stained with the blood of 
noted persons. Cognizance. A heraldic term for a badge. 

II. ii. 97. Apt to he rendered. Easily made. 

II. ii. 103. Proceeding. Career. 

II. ii. 104. And reason, etc. My reason (which might 
have made me hesitate to speak thus) is subject to my 
affection for you. 

II. ii. 114. Strucken. See Introduction, p. 39, (4.) (c). 

II. ii. 121. Hour's. The metre requires this word to be 
dissyllabic here. 

II. ii. 129. I Yearns. Shudders. 

II. iii. The chief effect of this short scene is to increase 
the excitement before the culmination of the conspiracy, by 
suggesting a possible way of escape for Caesar. 

II. iii. 13. Out of, etc. Free from envious rivalry. 

II. iii. 15. Contrive. Conspire. 

II. iv. The part of the Soothsayer in this scene serves 
the same dramatic purpose as that of Artemidorus in the 
previous one. For the rest, the scene elaborates the char- 
acter of Portia by exhibiting her wifely anxiety. 

II. iv. 6, Constancy. Cf. II. i. 227, II. i. 299 and notes. 

II. iv. 14. Sickly. What part of speech is this? 

II. iv. 32. For the metre, see Introduction, p. 35, 5. 

ACT III. 

In this central act the plot reaches its climax and the 
counter-plot begins. 

III. i. In the first scene the movement is rapid and the 
speeches short, whispered, and full of suppressed excite- 



l'J'6 NOTES. 

ment (except the lordly utterances of the unconscious 
Caesar), up to the moment of the assassination. Then, 
after a moment of consternation, the action pauses while 
the chief persons utter themselves on the situation. 

III. i. 8. Us ourself. This use of the plural is meant to 
indicate Caesar's assumption of royalty. It is, of course, 
English, not Roman. Served. We mig-ht expect a word 
meaning- "attended to," but it is difficult to get clear evi- 
dence for this use elsewhere. Wright takes it as mean- 
ing, "presented," as in the phrase " serve a summons," 
and Damon suggests that it is a metaphor from the table. 

III. i. 12. Capitol. Shakespere evidently implies here, 
as in Hamlet, III. ii. 108, 109, that the assassination took 
place in the Capitol, though Plutarch says Caesar was 
killed in one of the porches about the Theatre of Pompey. 
It was here that the Senate was sitting, and here stood the 
statue of Pompey which Shakspere transfers to the Capitol. 
It will be remembered that in I. iii. 126 Shakspere uses 
" Pompey's porch" as the meeting place of the conspira- 
tors. The stage-directions are modern. 

III. i. 18. Makes to. Makes for, makes his way towards. 

III. i. 19. Sudden. Quick. 

III. i. 22. Constant. Firm. Cf. II. iv. 6 and note. 

III. i, 28. Presently. At once. Cf. II. ii. 5 and note. 
Prefer. Present. 

III. i. 29. Addressed. Prepared. 

III. i. 30. Is this line strictly grammatical? 

III. i. 38. Pre-ordinanee. About his own decrees Caesar 
uses language usually associated with divine laws. 

III. i. 39. Law. Johnson's emendation for " lane," the 
reading of the Folios. Of chUdren, i.e., liable to capricious 
change. Fond to think. So foolish as to think. 

III. i. 42. With. By. Cf . I. iii. 83 and note. 

III. i. 47, 48. Ben Jonson quoted this passage in an 
altered form and ridiculed it. " Many times he [Shaks- 
pere] fell into those things, could not escape laughter, as 
when he said in the person of Caesar, one speaking to him, 
'Caesar, thou dost me wrong.' He replied: 'Caesar did 
never wrong but with just cause,' and such like, which 
were ridiculous." {Timber^ ed. Schelling, p. 23.) This has 



NOTES. 1'^'?' 

led some editors to emend the text in conformity with 
Jonson's quotation, but no change seems necessary. 

III. i. 51. Repealing. Recalling. Cf. repeal in ver. 54, 
above. 
III. i. 57. Enfrancliisement. The rights of a free citizen. 

III. i. 59. Praij to move. Pray others to change. 

III. i. 67. Apprehensive. Intelligent. 

III. i. 69, 70. Holds . . . motion. These words are usually 
understood to mean " maintains his place, unmoved by any 
force." 

III. i. 77. "M til, Brute!' This phrase is not found in 
any of the classical authorities on the death of Caesar, and 
its source is unknown. "Shakspeare may have taken it 
from The True Tragedie of Richard Duke of Yorke, where 
Edward exclaims to Clarence, ' Et tu, Brute, wilt thou 
stab Caesar too? ' " [Clar.] 

III. i. 80. Common pulpits. Those in the Forum, from 
which orators addressed the people. 

III. i. 91. Nor . . . no. See Introduction, p. 39, (5.) (a). 

III. i. 94. Abide. Answer for. 

III. i. 95. But we. See Inti-oduction, p. 37, (3.) (a). 

III. i. 100. Stand upon. Concern themselves with, put 
stress upon. 

III. i. 101, 2. The Folios give the speech to Casea, but 
most editors agree in assigning it to Cassius, with whose 
stoicism it is in accord. 

III. i. 115. Pompeifs hasis. On the base of Pompey's 
statue. Cf . note on III. i. 12. 

III. i. 120. See Introduction, p. 39, (4.) (e). 

III. i. 121. Most boldest. See Introduction, p. 37, (2.). 

III. i. 131. Resolved. Informed. 

III. i. 136. Thorough. The Shaksperean spelling of 
"through" when dissyllabic. Untrod state. The unex- 
plored road on which we have entered. 

III. i. 140. So pUase him come. If it be so that it please 
him to come. Cf . Cymbeline, IV. ii. 394, " So please you en- 
tertain me." 

III. i. 142. Presently. Cf . III. i. 28 and note. 

III. 1. 143. " I know that he will be a good friend to our 
cause." 



178 NOTES. 

III. i. 145, 46. My misgiving, etc. My fears usually turn 
out to be only too well founded. Shrewdly is originally 
" wickedly," but here it is merely intensive. 

III. 1. 152. Be let Mood. Be bled, i.e., die. Rank. Too 
full-blooded, therefore, "to be bled." There may also be 
sug-gested the sense of "too flourishing," "increasing in 
power too rapidly." 

III. i. 157. Bear me hard. Bear me a grudge. Cf . I. ii. 
324, II. i. 215, and notes. 

III. i. 160. Apt. Fit, ready. 

III. i. 161. Mean. Shakspere uses "means " also. 

III. i. 162. By . . . by. Note the play upon the two uses 
of by, (1) of place, (2) of agent. 

III. i. 171. Fire . . . fire. The first fire is dissyllabic. 

III. i. 174. In strength of malice. This passage has been 
suspected, and for malice editors have substituted "wel- 
come," "amity," etc. But the phrase is parallel to the 
previous admissions of Brutus implied in "bloody and 
cruel ' ' and to the contrast drawn above between their hands 
and their hearts. The general sense is, " Our arms, though 
their strength has just been manifested in what seems 
malice, and our hearts in genuine brotherly affection, do 
receive you." 

III. i. 177. Voice. Often used in sense of "vote." 

III. i. 191. Credit. The way in which I am to be esti- 
mated, my repute. 

III. i. 192. Conceit. Conceive of. 

III. i. 196. Dearer. More intensely. This intensive use 
of "dear" is frequent in Shakspere. Cf. Hamlet, IV. iii. 
43, "We dearly grieve"; Richard II., I. iii. 151, "The 
dateless limit of thy dear exile," where "dear" means 
" keenly felt. " The general idea in-Shakspere's use of the 
word is "coming home to one." 

III. i. 202. Close. Agree. The literal sense is paralleled 
in the phrase, " to conclude an agreement." 

III. i. 204. Bay'd. Brought to bay. 

III. i. 206. Signed in thy spoil. Bearing the marks of thy 
destruction. For this use oi signed, cf. Hehry VIII., II. iv. 
108, " you sign your place and calling." For spoil=ruin, cf. 
1 Henry IV., HI. iii. 11, "Company, villainous company, 



NOTES. 179 

hath been the spotZ of me." Lethe. This is an unsolved puz- 
zle. Some have avoided the difficulty by reading "death." 
Elsewhere (2 Henry IV., V. ii. 72, Twelfth Night, IV. i. 66) 
Shakspere uses "Lethe " correctly as the name of the river 
of oblivion, and White interprets the present passage thus, 
"crimsoned in the stream which bears thee to oblivion." 
Others have supposed it to be from the Latin letum, death, 
the " h " being due to confusion with Lethe, as it is in 
the improper form lethum and in the English adjective 
lethal. 

III. i. 207, 8. Hart . . . heart. This pun occurs also in As 
You Like It, III. ii. 260, and Twelfth Night, IV. i. 63. 

III. i. 209. Strucken. See Introduction, p. 39 (4.) (c). 

III. i. 213. Modesty. Moderation. 

III. i. 216. Pricked. Marked : from the custom of marking 
ofE names by pricking them with a metal point instead of 
a pen. 

III. i. 217. Shall we on. See Introduction, p. 39 (4.) (e) 
and cf . ver. 236 and 291, below. 

III. i. 224, Full of good regard. " Capable of being placed 
in a favorable light. " [Clar.] 

> III. i. 228. Produce. Exhibit. The use of to instead of 
" in " is probably due to a recollection of the use of the Latin 
produco in the sense of " bring forward." 

III. i. 230. Order of his funeral. Course of his funeral 
ceremonies. 

III. i. 242. Wrong. Harm. 

in. i. 243. Fall. Befall, happen. 

III. i. 268. For this use of with for " by " cf . I. iii. 83 and 
note. 

III. i. 271. Ate. The Greek goddess of vengeance. 

III. i. 273. Havoc. Said to be a cry in battle which 
meant that no quarter was to be given. Let slip. I.e., from 
the leash. 

III. i. 283. Passion. Grief. Cf. I. ii. 40 and note. 

III. i. 289. Borne. For the pun, cf. I. ii. 156. 

III. i. 294. Issue. Result of the action. 

III. ii. This scene contains in the oration of Antony the 
force which sets in motion the return action of the drama. 
Hitherto, the conspirators have carried everything before 



180 NOTES. 

them. In the rest of the play we see Caesar's spirit accom- 
plishing its revenge. 

III. ii. 13-70. Cf. Plut., p. 120. " When the people saw 
him in the pulpit, although they were a multitude of rake- 
hels of all sorts, and had a good will to make some stir; yet, 
being ashamed to do it, for the reverence they bare unto 
Brutus, they kept silence to hear what he would say. 
When Brutus began to speak, they gave him quiet audience : 
howbeit, immediately after, they shewed that they were 
not all contented with the murther." Shakspere may have 
taken the hint for the style of this speech by Brutus from 
the following: " But for the Greek tongue, they do note in 
some of his epistles, that he counterfeited that brief com- 
pendious manner of speech of the Lacedaemonians." Plut., 
p. 107. 

III. ii. 14. Lovers. Friends. Cf. II. iii. 9, and ver. 54, 
below. 

III. ii. 18. Censure. Judge. 

III. ii. 31, 32. There is tears. See Introduction, p. 38, 
(4.) (a). 

III. ii. 36. Bude. Barbarous. 

III. ii. .45. Eoctenuated. Made little of. 

III. ii. 47. Enforced. Exaggerated. 

III. ii. 59, 60. Note the dramatic contrast in these two 
exclamations. The Second Citizen remembers that Brutus 
is of a family already famous for its hatred of tyrants : the 
Third Citizen fails entirely to seize the point either of the 
murder or of Brutus' s defense of it, and is ready to transfer 
his allegiance from one Caesar to another. The whole 
political moral of the drama, the hopelessness of destroying 
tyranny while the people are willing to be tyrannized over, 
is implied in this cry, *' Let him be Caesar." 

III. ii. 66. Grace. Honor. 

III. ii. 67. Tending to. Cf . I. ii. 329, and note. 

III. ii. 70. Save I. See Introduction, p. 37, (3.) (a). Spoke. 
See Introduction, p. 39, (4.) (c). 

III. ii. 74. Beholding. An incorrect form of belioldcn, 
" under obligation." 

III. ii. 82 ff. Cf. Plut., p. 121 : "Afterwards, when Caesar's 
body was brought into the market place, Antonius making 



NOTES 181 

his funeral oration in praise of the dead, according to the 
ancient custom of Rome, and perceiving that his words 
moved the common people to compassion, he framed his elo- 
quence to make their hearts yearn the more; and taking 
Caesar's gown all bloody in his hand, he laid it open to the 
sight of them all, showing what a number of cuts and holes 
it had upon it. Therewithal the people fell presently into 
such a rage and mutiny, that there was no more order kept 
among the common people." And again, p, 165 : " When he 
saw that the people were very glad and desirous also to hear 
Caesar spoken of, and his praises uttered, he mingled his 
oration with lamentable words ; and by amplifying of mat- 
ters did greatly move their hearts and affections unto pity 
and compassion. ' ' It was from such mere hints as these that 
Shakspere elaborated Antony's speech. Note that while the 
matter-of-fact speech of Brutus, aimed at the reason of the 
citizens, is in prose, Antony's appeal to their feelings is in 
verse. 

III. ii. 83. Bury. Note the anachronism here, and in ver. 
115 below. 

III. ii. 98. General coffers. Public treasury. 

III. ii. 112. To. What preposition is used after withhold 
in modern English! 

III. ii. 115. Coffln. Cf . note on ver. 83 above. 

III. ii. 123. Dear. See Introduction, p. 39, (5.) (b) and cf. 
III. i. 196, note. Abide. Pay for. Cf . III. i. 95. 

III. ii. 137 fE. On Caesar's will, cf. Plut., pp. 102, 121. 

III. ii. 142. Napkins. Handkerchiefs. This use is still 
common in Scotland. Cf . II. ii. 88, 89, and note. 

III. ii. 174. Hearse. Bier. 

III. ii. 179 fE. Mantle. Antony's appeal to the emotions of 
the crowd through Caesar's mantle and his wounds is based 
upon Plut., pp. 121, 22, and 165. 

III. ii. 182. The Ntrvii. For Caesar's victory over *' the 
Nervians, the stoutest warriors of all the Belgae," see 
Plut., p. 61. 

III. ii. 184. Envious. Malicious. Cf. II. i. 164, 178, and 
notes. 

III. ii. 188. Resolved. Cf. III. i. 131, and note. 

III. ii. 192. Most unkindest. See Introduction, p. 37, (2.). 



182 NOTES. 

III. ii. 197. On the metre of this line see Introduction, 
p. 36, and cf . II. ii. 76 and note. 

III. ii. 206. With. Cf . I. iii. 83, note. 

III. ii. 251. Drachmas. A drachma was equal to about 
twenty cents in nominal value, but had a much greater 
purchasing power. 

III. ii. 268. Forms. Benches. 

III. ii. 275. Upon a wish. As soon as wished for. 

III. ii. 279. Belike. Probably. 

ITT, iii. The chief function of this scene is to give the 
effect of Antony's speech by a picture of the wild passion it 
has stirred up in the mob. The episode of the death of 
Cinna is from Plut., pp. 102, 103, 122. 

III. iii. 2. Things unluckily, etc. My imagination is bur- 
dened with things that forbode ill-fortune. 

III. iii. 12. You were hest. It were best for you. But by 
the time of Shakspere the dative you had come to be regarded 
as a nominative, as we see by such analogous phrases as 
"I were best not call," Cymbeline, III. vi. 19. 

ACT IV. 

In this act we see the two opposing forces preparing for 
the final struggle. As is often the case in tragedy, the 
fourth act is the least essential to the action. 

IV. i. The first scene introduces us to the triumvirate 
who lead the party of revenge. Lepidus, the third member 
of the triumvirate, is mentioned only to be set aside as of 
no account. Antony and Octavius plan their campaign 
together. 

IV. 1. 1. Prick'd. Cf. III. i. 216, and note. 

IV. i. 4. PuUius. According to Plutarch, the person 
alluded to here was Lucius Caesar, Antony's uncle. 

IV. i. 6. Damn. Condemn to death. 

IV. i. 12. TJnmeritable. Without merit. 

IV. i. 16. Voice. Cf . III. i. 177, note. 

rV. i. 32. Wind. Wheel. 

IV. 1. 34. In some taste. To some extent, in a sense. 

IV. i. 37. Ahjects. Things thrown away. Orts. Broken 
fragments. This is Staunton's emendation of the Folio 



NOTES. 183 

reading, "objects, arts," which is retained by Craik and 
others. The sense is understood in much the same way in 
either case, viz., that Lepidus takes up things and practices 
which other men have rejected as outworn. 

IV. i. 38. Staled. Cf. I. ii. 73. 

IV. i. 39. Begin his fashion. "Are the newest fashion 
with him." [Clar.] 

IV. i. 40. A property. A chattel, a piece of the furniture 
on the stage on which we are the actors. 

IV. i. 41. Listen. See Introduction, p. 39, (6.). 

IV. i. 44. This line is defective. The second Folio reads, 
" and our best means stretched out." 

IV. i. 47. Answered. Met. 

IV. i. 48, 49. At the stake, etc. The figure is from the 
sport of bear-baiting, in which a bear was tied to a stake 
and tormented by dogs. Cf . Macbeth, V. vii. 1, 3 : 

They liave tied me to a stake ; I cannot fly, 
But, bear-like, I must fight the course. 

IV. ii. This scene merely leads up to the quarrel in 
IV. iii. 

IV. ii. 6. He greets me well. His greeting finds me in good 
health. 

IV. ii. 7. In his own change. By change in his own feel- 
ings towards me. It has been proposed to read " charge " 
for change, with the sense of "by his direct command." 

IV. ii. 13. Full of regard. Full of qualities worthy of 
regard. 

IV. ii. 14. According to the punctuation in the present 
text, which here follows the first Folio, we supply " as to " 
before How, . Some editors put a colon after Lucilius and a 
comma after you, thus making " How he received you " the 
object of resolved. For resolved, cf . III. i. 131. 

IV. ii. 16. Familiar instances. See Introduction, p. 37, 
(1.) (a). 

IV. ii. 33. Hot at hand. Restless when reined in. 

IV. ii. 36. Fall. Used actively in the sense of " lower." 

IV. ii. 40. Sober. Grave, serious. 

IV. ii. 41. Content. Self-contained, calm. 

IV. ii. 46. Enlarge. Enlarge upon, express fully. 



184 NOTES. 

IV. ii. 50-52. Craik emended Lucilius to " Lucius " in ver. 
50, and Let Lucius to " Lucilius " in ver. 52. This improves 
the metre in ver. 50, and represents Brutus as sending^ 
Lucius with the message, while the two officers guard the 
door. Note that it is Lucilius who is on guard at IV. iii. 
127, below. 

IV. iii. This scene, taken by itself, is perhaps the great- 
est in the play. The human nature of the two main actors 
in it is realized with an intensity which Shakspere usu- 
ally achieves only in his greatest works. On the other 
hand, as a part of the dramatic action, the scene is much 
less important. The division between the generals fore- 
warns us of disaster to the army in battle, but otherwise 
the plot is hardly advanced by it. 

IV. iii. 2. Noted. Marked for disgrace. The phrase is 
from Plut., p. 135, "The next day after, Brutus, upon com- 
plaint of the Sardians, did condemn and note Lucius Pella 
for a defamed person, that had been a Praetor of the Ro- 
mans, and whom Brutus had given charge unto : for that he 
was accused and convicted of robbery and pilfery in his 
office. This judgment much misliked Cassius, because he 
himself had secretly (not many days before) warned two of 
his friends, attainted and convicted of the like offences, and 
openly had cleared them." 

IV. iii. 5. Were. The first Folio reads " was." Slighted 
off. Set aside without consideration. 

IV. iii. 8. Nice. Foolish, trivial. His. See Introduction, 
p. 37, (3.) (b), and cf. ver. 16, below. 

IV. iii. 10. To have. For having. Itching. Covetous, as 
implied in next line. 

IV. iii. 13. Speaks. See Introduction, p. 38, (4.) (a). 

IV. iii. 23. How does this statement agree with the rea- 
sons given by Brutus before the assassination? 

IV. iii. 28. Bait. Many editors change this to "bay," 
but the change is not necessary. 

IV. iii. 30. Hedge me in. Hamper me (by criticising and 
interfering with my actions) . 

IV. iii. 32. Conditions. I.e., under which a campaign 
should be conducted. 

IV. iii. 45. Observe. Pay observance or reverence. 



NOTES. 185 

IV. iii. 47. Spleen. The spleen was considered the seat of 
the passions. 

IV. iii. 73. Drachmas. Cf. III. ii. 251 and note. 

IV. iii. 75. Indirection. Methods that are not straight- 
forward. 

IV. iii. 80. Bascal. Despicable. Counters. Used con- 
temptuously for *' coins." 

IV. iii. 88. "Brutus does not mean to admit that he is 
exaggerating, but only that he calls attention to the faults 
of Cassius when they are practiced upon himself." [Clar.] 

IV. iii. 102. Plutus\ The Folios read "Pluto's," but the 
god of wealth is obviously meant. 

IV. iii. 109. Shall he humour. Shall be regarded as merely 
caprice. Uf. II. i. 250, note, and IV. iii. 120, 136. 

IV. iii. 110. Are yoked with. Have the same disposition as. 

IV. iii. 115. Ill-tempered. With the humors badly tem- 
pered or mixed. Cf. II. i. 250, note. 

IV. iii. 129 ff. Cf. Plut., p. 134. "This Phaonius at that 
time, in despite of the door-keepers, came into the chamber, 
and with a certain scofiang and mocking gesture, which he 
counterfeited of purpose, he rehearsed the verses which old 
Nestor said in Homer: 

My lords, I pray you hearken both to me, 
For I have seen mo years than suchie three. 

Cassius fell a-laughing at him, but Brutus thrust him out of 
the chamber, and called him dog, and counterfeit Cynic." 

IV. iii. 137. Jigging. " Jig" was used of a song as well as 
of the tune and the dance which accompanied it. 

IV. iii. 138. Companion. Used contemptuously as we 
often use " fellow." 

IV. iii. 152, 53. Upon. What preposition would be used 
here in modern English? Cf. ver. 144, above. Impatient . . . 
grief. Two constructions are confused here, but the sense 
is clear. The grammatical looseness of the whole passage 
marks Brutus's strong emotion. 

IV. iii. 166. Call in question. Discuss. 

IV. iii. 184. Nor nothing. See Introduction, p. 39, (5.) (a). 

IV. iii. 191. Why does Brutus here seem to pretend to 
hear for the first time of Portia's death? 



186 NOTES. 

IV. Hi. 195, 96. Cassius means that he also holds the Stoic 
doctrines, but he cannot so naturally put them in practice. 

IV. iii. 198. Presently. At once. Cf. III. i. 38, 143. 

IV. iii. 203. Offence. Harm. 

IV. iii. 214. Under your pardon. What is the modern 
idiom? 

IV. iii. 335. Twice before the opinion of Brutus had pre- 
vailed over that of Cassius — in letting Antony survive 
Caesar, and in allowing him to address the people. In each 
case the result was disastrous. 

IV. iii. 336. Along. See Introduction, p. 39, (4.) (e). 

IV. iii. 339. Niggard. Supply " sparingly." 

IV. iii. 331. Hence. See Introduction, p. 39, (4.) (e). 

IV. iii. 343. Knave. Used in the literal sense of " boy" 
without any bad meaning. Cf . ver. 370, below. Overwatched. 
Tired out with watching. 

IV. iii. 376. The presence of a ghost was supposed to 
make the lights burn blue. 

IV. iii. 279. Upon. Towards. See Introduction, pp. 33, 33. 

IV. iii. 381. Stare. Bristle. 

IV. iii. 393. False. Out of tune. 

IV. iii. 308. Set on. Cause to advance. 

ACT V. 

Here the return action, which was begun with Antony's 
speech in the third act, culminates in the catastrophe of the 
deaths of the greatest of the conspirators and the overthrow 
of their army. 

V. i. 3. Regions. A trisyllable. See Introduction, p. 36. 
V. i. 4. Battles. Battalions. Cf . ver. 16, below, and V. 

iii. 108. 

V. i. 5. Wa/rn. Challenge, summon to fight. 

V. i. 7. Am in their "bosoms. Know their intentions. 

V. i. 10. With fearful bravery. Wright and others take 
this to mean " with terrible display, thinking to intimidate 
by ostentation. " But the common Shaksperean use of fearful 
in the sense of "timorous " seems to suit the context better. 

V. i. 14. Bloody sign. Cf. Plut., p. 139, " The next morn- 
ing, by break of day, the signal of battle was set out in 



NOTES. 187 

Brutus' and Cassius' camp, which was an arming scarlet 
coat." 

V. i. 17, 18. This discussion about the leadership of the 
right and left wings is narrated by Plutarch (p. 140) of 
Brutus and Cassius, but is transferred by Shakspere to 
Octavius and Antony. 
V. i. 19. Exigent. Exigency, critical moment. 

V. i. 24, 25. We will answer . . . forth. We will meet them 
when they charge. Go forward. 
V. i. 33. Are. See Introduction, p. 39, (4.) (b). 

V. i. 34. Hybla. A town in Sicily noted for its honey. 
The bees fed on the thyme which grew on the surrounding 
hills. 

V. i. 52. Up. Into the sheath. 

V. i. 55. Have added another to the list of those slain by 
the sword of traitors. 

v. i. 59. Strain. Family, race. 

V. i. 60. Honourable. See Introduction, p. 39, (5.) (b). 

v. i. 61. Peevish. Childish. Octavius was only twenty- 
one. 

V. i. 62. On Antony's reputation for gaiety cf. I. ii, 204; 
XL i. 188, 89; II. ii. 116. 

v. i. 66. Stomachs. Hearts, courage. Cf. Henry V., IV. 
iii. 35, 36, " He which hath no stomach to this fight, Let him 
depart." 

v. i. 72. As. This word is often redundant in Shakspere. 
Cf. Romeo and Juliet, V. iii. 247, "That he should hither 
come as this dire night." 

v. i. 77. Held Epicurus strong. Held strongly the doc- 
trines of Epicurus, and so was skeptical about omens and 
the like. Cf. Plut., pp. 100, 136. 

V. i. 80. Former. First. Cf. the phrase occurring in ear- 
lier writers (e.g., Mandeville and More) "our /ormer father 
Adam," and Chaucer's ^^ Former Age." 

V. i. 92. Constantly. Cf . II. i. 299, III. i. 22, and notes. 

V. i. 95. Lovers. Cf . III. ii. 14, note. 

V. i. 97. With. About. 

v. i. 101 ff, Brutus answers that he has determined to act 
by the rule by which he blamed Cato's suicide, i.e., as he 
says after the parenthesis, I know . , . of life, he intends 



188 NOTES. 

to await the will of heaven. The ideas thus expressed 
are inconsistent with Brutus's next speech. One may sup- 
pose that the suggestion of the humiliation of a triumph 
changes his resolution. But Wright has pointed out that 
in the first speech Shakspere was misled by the bad punc- 
tuation of the corresponding passage in North's Plutarch 
(p. 140). According to the Greek text of Plutarch, Brutus 
admits that as a young man he blamed Cato ; but that now, 
in the midst of danger, he is of a different opinion. 

V. i. 105. Prevent. Anticipate. 

V. i. 106. Time. Period, limit. 

V. i. 109. Triumph. Cf. I. i. 36-50, note. 

v. i. 110. Thorough. Cf . III. i. 137, note. 

V. ii. 1. Bills. Dispatches. 

V. iii. 4. It. The ensign or standard. In the previous 
line, ensign is used for "standard-bearer," but in V. i. 80 
as here for " standard." 

V. iii. 18. Tend. Cf. I. ii. 194, note. 

V. iii. 19. With a thought. Cf. "Upon a wish," III, ii. 275 
and note. 

V. iii. 25. Compass. Circular course. 

V. iii. 38. Saving of thy life. Two interpretations are pos- 
sible: (1) "When I saved thy life" ; (2) "Except for risking 
thy life, thou shouldst attempt, etc." The former is that 
usually accepted, and seems to fit the context better. 

V. iii. 41, 43. Cf. Plut., p. 103, " For he [Cassius], being 
overcome in battle at the journey of Philippes, slew himself 
with the same sword with the which he strake Caesar." 
Search. Probe, pierce. 

V. iii. 51. Change. Exchange ; gain and loss on one side 
corresponding to loss and gain on the other. 

V. iii. 65, 66. Success. Good success. Cf. II, ii. 6 and note. 

V. iii. 68. Apt. Receptive. 

V. iii. 96. Proper. Merely repeats and emphasizes 
"own." 

V. iii. 101. Moe. Cf. II. i. 72, note. 

V. iii. 104. Thasos. An island off the coast of Thrace. 
Cf. Plut., p. 144, "So when he was come thither, after he had 
lamented the death of Cassius, calling him the last of all the 
Romans, being unpossible that Rome should ever breed 



NOTES. 189 

again so noble and valiant a man as he, he caused his body 
to be buried, and sent it to the city of Thassos, fearing lest 
his funerals within his camp should cause great disorder." 

V. iii. 108. Battles. Cf. V. i. 4, note. 

V. iii. 110. Second fight. This second battle was in fact 
twenty days later. 

V. V. 2. Torch-light. Cf. Plut., p. 150, "Furthermore, 
Brutus thought that there was no great number of men 
slain in battle : and to know the truth of it, there was one 
called StatiUus, that promised to go through his enemies, 
for otherwise it was impossible to go see their camp : and 
from thence, if all were well, that he would lift up a torch- 
light in the air, and then return again with speed to him. 
The torch light was lift up as he had promised, for Statilius 
went thither. Now Brutus seeing Statilius tarry long after 
that, and that he came not again, he said, ' If Statilius be 
alive, he will come again.' But his evil fortune was such 
that, as he came back, he lighted in his enemies' hands and 
was slain." 

v. V. 27. That our love. Cf. the modern idiom " that love 
of ours." 

V. V. 28. It. Note that the antecedent of it is the first 
part of the compound " sword-hilts." 

V. V. 45. Respect. Cf . I. ii. 59. 

V. V. 46. Smatch. Smack. 

V. V. 60. Entertain. Take into my service. 

V. V. 62. Prefer. Sometimes used by Shakspere in the 
sense of " recommend," but here rather "hand over." 

v. V. 69. Save only he. See Introduction, p. 37, (3.) (a). 

V. V. 71, 72. In a general . . . to all. With general honor- 
able intentions and for the sake of the common good of all. 
This free use of prepositions has been frequently exempli- 
fied throughout the play. See Word Index for instances. 

V. V. It is important to notice the stress laid by Shaks- 
pere on the testimony borne by the enemies of Brutus to the 
latter's honorable character. A mistake in judgment led 
him to the assassination of Caesar, and the inevitable Nem- 
esis followed in the form of physical disaster. But there 
was no stain on his conscience, and there is no moral catas- 
trophe as in Macbeth. 



WORD INDEX. 



Abide, III. i. 94; III. ii. 123. 

abjects, IV. i. 37. 

abuse, II. i. 18. 

addressed, III. i. 29. 

affections, II. i. 20. 

against, I. iii. 20. 

aim, I. ii. 163. 

alchemy, I. iii. 159. 

an, I.ii. 273. 

answer, I. iii. 114; V. i. 24. 

answered, IV. i. 47. 

Antony's reputation, V. i. 62. Cf. 

I. ii. 204; II. i. 188-9; II. ii. 116. 
apparent, II. i. 198. 
apprehensive. III. i. 67. 
apt, II. ii. 97; III. i. 160; V. iii. 68. 
are, II. ii. 46; V. i.33. 
arrive, I. ii. 110. 
as, V.i. 72. 
Ate, III. i. 271. 
away, III. i. 119. 
awl, I. i. 18, 25. 

Bait, IV. iii. 28. 

basis, III. i. 115. 

bastardy, II. i. 138. 

battles, V. i. 4, 16; V. iii. 108. 

bay»d. III. i. 204. 

be you one, I. U. 44, 

bear ... a hand, I. ii. 35. 

bear . . . hard, I. ii. 324; II. i. 215; 

III. i. 157. 
bears, II. i. 205. 
begin his fashion, IV. i. 39, 
behaviours, I. ii. 42. 
beholding, III. ii. 74. 
belike, III. ii. 279. 
bend, I. ii. 123. 
bills, V. ii. 1. 
bird of night, I. iii. 26. 



bosoms, V. i. 7. 

break with, II, i. 150. 

brother Cassius, II. i. 70. 

brought, I. iii, 1. 

Brutus (liucius Junius), I. ii. 159. 

Brutus on suicide, V. i. 101. 

Brutus, thou sleep'st, II. i. 48. 

bury. III. ii.83. 

but, I. ii. 177; I. iii. 144; III. i. 95. 

by . . . by, III, i. 162. 

by him, II. i. 218. 

Call in question, IV. iii. 166. 
Capitol, III, i. 12. 
carrions, II. i. 130. 
Casca, I, iii. 
Cato, II. 1. 295. 
cautelous, II. i. 129. 
censure. III. ii. 18. 
ceremonies, II, i. 197; II, ii, 13. 
ceremony, I. i. 69. 
chafing, I. ii, 101. 
change, IV. ii, 7; V. iii. 51. 
charactery, II, i. 308, 
charm, II. i. 271. 
chew, I. ii. 171. 
clean from, I. iii. 35. 
clock, II. i. 192. 
close. III. i. 202. 
closet, II. i. 35. 
climate, I. iU, 32. 
climber upward, II. i, 23, 
cobbler, I. i. 11. 
coffin. III. ii. 115. 
cognizance, II. ii. 89. 
Colossus, I. ii. 136. 
colour, I. ii. 122; II. i, 29. 
come by, II. i. 169. 
common pulpits, III, i. 80. 
companion, IV. iii. 138. 

190 



WORD INDEX. 



191 



compass, V. iil. 25. 
complexion, I. iii. 128. 
conceit, III. i. 192. 
conceited, I. iii. 162. 
condition, II. i. 254. 
conditions, IV. iii. 32. 
constancy, II. iv. 6. 
constant. III. i. 22. 
constantly, V. i. 92. 
content, IV. ii. 41. 
contrive, II. iii. 15. 
contriver, II. i. 158. 
coronet, I. ii. 240. 
course, I. ii. 1-9. 
credit, III. i. 191. 

Damn, IV. i. 6. 

deaftiess, Caesar's, I. ii. 213. 

dear, III. ii. 123. 

dear my lord, II. i. 255. 

dearer. III. i. 196. 

death of Portia, IV. iii. 191. 

degrees, II. i. 26. 

did neigh, II. ii. 23. 

difference, I. ii. 40. 

disposed, I. ii. 321. 

doublet, I. ii. 272. 

drachmas. III. ii. 251; IV. iii. 73. 

Element, I. iii. 128. 
enforced. III. ii. 47. 
enlarge, IV. ii. 46. 
entertain, V. v. 60. 
envious, II. i. 178; III. ii, 184. 
envy, II. i. 164. 
Epicurus, V. i.77. 
Erebus, II. i. 84. 
M tu, Brute! III. i. 77. 
eternal, I. ii. 160. 
even, II. i. 133. 
exhalations, II. i. 44. 
exigent, V. i. i9. 
extenuated. III. ii. 45. 
eyes, had his, I. ii. 62. 

Factious, I. iii. 118. 
fall, III. 1. 243; IV. ii. 26. 



falling sickness, I. Ii. 119. 

false, IV. iii. 292. 

familiar instances, IV. ii. 16. 

favour, I. ii 91 ; I. iii. 129; II. i. 76. 

fear, II. i. 190. 

fearful, V. i. 10. 

ferret . . . eyes, I. ii. 186. 

fever, I. ii. 119. 

fifteen, II. i. 59. 

fire. III. i. 171. 

fleering, I. iii. 117. 

flood, I. ii. 152. 

fool, I. iil. 65. 

formal, II. i. 227. 

former, V. i. 80. 

forms. III. ii. 268. 

forth. III. i. 119. 

fret, II. i. 104. 

from, II. i. 196. 

ftall of regard, IV. ii. 12. 

General, II. i. 12; III. ii. 98. 

Genius, II. i. 66. 

gentle, II. i. 171. 

glared, I. iii. 21. 

good regard. III. i. 224. 

grace. III. il. 66. 

greets me well, IV. ii. 6. 

growing on, II. i. 107. 

Hands, I. ii. 327. 

hart. III. i. 207-8. 

hats, II. i. 73. 

have, II. ii. 1. 

havoc. III. i. 273. 

heap, I. iii. 23. 

hearse, III. ii. 174. 

heart, III. i. 207-8. 

hearts of controversy, I. ii. 109. 

heavy, II. i. 275. 

hedge, IV. iii. 30. 

hence, IV. iii. 231. 

his, I. ii. 124; II. i. 251; IV. iii. 8. 

hold, my hand, I. iii. 117. 

holds . . . motion, III. i. 69. 

honey-heavy dew, II. i. 230, 

hot at hand, IV. ii. 23. 

how, II. i. 312. 



192 



WORD INDEX. 



humour (noun), II. i. 250; II. ii. 56; 

IV. iil. 109. 
humour (verb), I. ii. 326. 
humours, II. i. 262. 
Hyhla, V. i. 34. 

1, I. Ii. 112, 115. 

Ides, I. ii. 19; II. 1.40. 

idle, II. i. 117. 

ill-tempered, IV. iii. 115. 

Impatient, IV. iii. 152. 

in, I. iii. 60; V. v. 71-2. 

incorporate, I. iii. 135. 

Indifferently, I. ii. 87. 

indirection, IV. iii. 75. 

Instances, IV. ii. 16. 

insuppressive, II. i. 134. 

is (With plural subject), I. iii. 148, 

155; III. ii. 31-2. 
issue. III. i. 294. 
it, V. iii.4; V. v. 28. 

Jealous, I. ii. 71, 162. 
jigging, IV. iii. 137. 
Jonson, III. i. 47-8. 
just, I. ii. 54. 

Keep with, II. i. 284. 
kind, I. iii. 64. 
knave, IV. iii. 242, 

liaugher, I. ii. 72. 
law of children. III. i. 39. 
let blood. III. i. 152. 
lethe. III. i. 206. 
liable, II. ii. 104. 
lief, I. ii.95. 
limitation, II. i, 283. 
lion, I. iii. 75. 
lottery, II. i. 119. 
lovers. III. ii. 14. 
liucius, IV. ii. 50-3. 
liupercal, I. i. 71. 

Mam, II. i. 196. 
marry, I. ii. 230. 
me, I. ii. 271; I. iii. 47. 
mean, III. i. 161. 



mechanical, I. i. 3. 
merely, I. ii. 39. 
metal, I. i. 65; I. ii. 320. 
mettle, II. i. 134; IV. ii.24. 
misgiving. III. i. 145. 
mistook, I. il. 48. 
modestly, I. ii. 69; III. i. 213. 
moe, II. i. 72; V. iii. 101. 
most boldest. III. i. 121. 
most unkindest. III. ii. 192. 
motion, II. i. 64. 
much, II. i. 188. 
music, I. ii. 204. 

Name, I. ii. 199. 

napkins. III. ii. 142. 

Nervii, III. ii. 182. 

nice, IV. iii. 8. 

niggard, IV. iii. 229. 

nor ... no. III. i. 91; IV. iii. 184. 

not . . . neither, I. ii. 239. 

noted, IV. iii. 2. 

Observe, IV. iii. 45, 
occupation, I. ii. 273. 
o'crwatched, IV. iii. 242. 
of, II. i. 157. 
offence, IV. ill. 202. 
on, III. i. 217. 
ope, I. ii. 271. 
order. III. i. 230. 
ordinance, I. iii. 66. 
orts, IV. i. 37. 
out, I.i.l8. 

Passion, I. ii. 48; III. i. 283. 
path, II. i. 83. 
peevish, V. i. 61. 
physical, II. i. 261. 
pitch, I. i. 77. 
Plutus, IV. iii. 102. 
Pompey, I. i. 41. 
Pompey's porch, I. iii. 126. 
Pompey's theatre, I. iii. 152. 
portents, II. ii. 24. 
Portia's death, IV. iu. 191. 
practise, IV. iii. 88. 



WORD INDEX. 



193 



pray to move, III. i. 59. 

prefer. III. I. 28; V. v.62. 

preformed, I. iii. 67. 

pre-ordlnance, III. i. 38. 

present, II. ii. 5. 

presently. III. i. 28, 142; IV. ili. 198. 

prevent, II. i. 28; V. i. 105. 

prick'd. III. i. 216; IV. i. 1. 

priests of liupercus, I. li. 1-9. 

proceeded, I. ii. 181. 

proceeding, II. li. 103. 

produce. III. 1. 228. 

profess, I. ii. 77. 

promised forth, I. li. 300. 

proof, II. 1. 21. 

proper, I. i. 28; I. ii. 41; V. Iii. 96. 

property, IV. i. 40. 

protester, I. ii. 74. 

Publlus, IV. i. 4. 

put on, I. iii. 60; II. i. 225. 

Quality, I. iii. 64, 68. 
quarrel, II. i. 28. 
quick, I. ii. 29, 307. 

Rank, III. 1. 152. 

rascal, IV. iii. 80. 

rears. III. i. 30. 

recover, 1. 1. 27. 

regard. III. i. 224; IV. ii. 12. 

regions, V. i. 3. 

remorse, II. i. 19. 

repealing. III. i. 51. 

replication, I. i. 50. 

resolved, HI. i. 131; III. ii. 188; 

IV. ii. 14. 
respect, I. i.lO; I. ii, 59: V. v. 45, 
retentive, I. iii. 95. 
rheumy, II. i. 266. 
right form, II. li. 20. 
Rome, I. ii. 156; III. i. 289. 
rout, I. ii. 78. 
rude. III, ii. 36. 

Sad, I. ii. 218. 

save. III. ii. 70; V. V. 69. 

saving, V. iii. 38. 



scandal, I. ii. 76. 

scarfs, I. ii. 295; cf. I. i. 69, note. 

search, V. iii. 42. 

second fight, V. Iii. 110. 

secret, II. i. 125. 

sennet, I. ii. 25, stage direction. 

served. III. i. 8. 

set on, II. i. 331 : IV. lil. 308. 

should, II. ii. 42. 

shouted, I. ii. 248. 

shoT?-, I. ii. 34. 

shrevrd, II. i. 158. 

shrewdly, III. i. 146. 

sick offence, II. i. 268. 

slgn'd. III. i. 206. 

slaughter, V. 1. 55. 

slighted off, IV. iii. 5. 

smatch, V. v. 46. 

so, I. ii. 166. 

so please him, III. 1. 140. 

sober, IV. ii. 40. 

soil, I. ii. 42. 

soles, I. i. 15. 

soothsayer, I. il. 12. 

sort, I.i. 61; II. i. 283. 

speaks, IV. ili. 13. 

speed, I. ii. 88. 

spleen, IV. iii. 47. 

spoil. III. i. 206. 

spoke, II. i. 125. 

stake, IV. i. 48. 

stand upon, III. i. 100. 

stare, IV. iii. 281. 

state, I. iii. 71; II. 1.67. 

statue, II. li. 76; III. ii. 197. 

Stole, IV. iii. 195. 

stomachs, V. i. 66. 

stood on ceremonies, II. ii. 13. 

strain, V.i.59. 

strength of malice, III. i. 174. 

strength of spirit, I. iii. 95. 

stricken, II. 1. 192. 

Btrucken, III. i. 209. 

subtle, II. i. 175. 

suburbs, II. i. 285. 

success, II. ii. 6; V. Iii. 65. 

supporting robbers, IV. iii. 23. 



194 



WORD INDEX. 



sway, I. iii. 3. 
swayed, II. i. 20. 
swimming, I. ii. 100-115. 
swonnded, I. ii. 253. 

Thought, II. i. 187. 

tardy, I. ii. 310. 

taste, IV. i. 34. 

teeth of emulation, II. iii. 13. 

tending to, I. ii. 329; III. ii. 67. 

Thasos, v. iii. 104. 

that our love, V. v. 27. 

thee, II. i. 56. 

there's two, I. lil. 138. 

these, I. ii. 174; I. iii. 30. 

these and these, II. i. 31. 

thews, I. iii. 81. 

thorough, III. i. 136; V.l. 110. 

thunder-stone, I. iii. 49o 

time of life, V. i. 106. 

tinctures, II. ii. 89. 

to, in. ii. 112. 

to friend. III. i. 143. 

to have, IV. iii. 10. 

torch-light, V. v. 2. 

triumph, I.i. 35-55; V. i. 109. 

trophies, I. i. 73. 

Unbraced, I. iii. 48; II. i. 262. 
under your pardon, IV. iii. 214. 
undergo, I. iii. 123. 
unicorns, II. i. 204. 
unluckily. III. iii. 2. 
unmerltable, IV. i. 12. 
up, V. i. 52, 
upon, IV. ill. 152. 
upon a wish, III. ii. 275. 



upon me, IV. iii. 279. 
use (noun), II. ii. 25. 
use (verb), I. ii. 72. 

Voice, in. i. 177; IV. i.l6. 
vouchsafe, II. i. 313. 
vulgar, I. i. 74. 

Wafture, II. i. 246. 

walls, I. iL 155. 

warn, V. i. 5. 

watch, II. ii. 16. 

we have, I. ii. 261. 

weighing, II, 1. 108. 

weU-glven, I. ii. 197. 

what, II. i. 1. 

what night, I. iii. 42. 

when, II. i. 1, note; H. 1. 6. 

where, I. ii. 59. 

whether, I. i.65. 

whiles, I. ii. 209. 

who, I. iii. 21. 

whom, II. i. 331. 

why, I. iii. 63-4. 

wind, IV. i. 32. 

with, I. iii. 12, 83; III. i. 42, 

in. U.206; V.i. 97. 
with a thought, V.iii. 19. 
woe the while, I. iii. 82. 
wonderful, I. iii. 14. 
wrong. III. 1.242. 

Yearns, n. ii. 129. 
yoked, IV. iii. 110. 
yond, I. ii. 194. 
yon were best. III. liL 12. 




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